
Class _!E£w2l5L 
Book 



COPYRIGHT DEPQSm 



/ 






GREEK AND ROMAN METRES. 






TPIE METRES 



GEEEKS AND EOMANS. 



A MANUAL 



FOR SCHOOLS AND PRIVATE STUDY. 



TRANSLATED FEOM THE GERMAN OF 



^\ EDWARD MUNK. 



BY 

CHARLES BECK AND C. C. FELTON, 

PROFESSORS IN HARVARD UNIVERSITY, 



BOSTON: 

JAMES MUNROE AND COMPANY, 
1844. 






X^'^t'v 



.'^'^ 



^v^ 



Entered according to Act of Congress, in the year 1844, by 

JAMES MtJNROE & CO. 
in the Clerk's Office of the District Court of Massachusetts. 



'.J 



1 



ANDOVMt 

ALLEPTj MORRILL AND WARDWEtL, 
PRINTERS* 



PREFACE, 



The Translators of the following work have long felt the 
necessity of a treatise on the Greek and Roman Metres, as a 
general book of reference, to accompany the text books used 
in colleges in teaching the ancient languages. No manual 
suited to supply the deficiency has appeared in English. The 
great work of Hermann has been abridged and translated by 
Seager ; but the distinguished German is so much attached to 
certain philosophical views of Kant, on which his theory of 
meti'e is foionded, that great as are the merits of the Elementa 
in a scientific point of view, it is not found to answer very well 
the purpose of a practical manual. The treatise of Dr. Munk 
has been most favorably received wherever it is known ; his 
theory of metre is essentially the same as that which Bockh 
unfolded in his essay " de Metris Pindari," which, says the 
author of the present work, " recommends itself not only by 
the historical gi'ounds on which it is constructed, but also by 
its truth and intelligibleness." 

The work of Dr. Munk, here presented in English, it is be- 
lieved, will be found to contain a very accurate and thorough 
account of the metrical systems of the Greeks and Romans ; 
and as complete an elucidation of all the details of those sys- 
tems, as can now be given. The introduction condenses in- 
to a few pages the facts in the historical development of the 
ancient metres which are elsewhere scattered over many vol- 
umes. The theory of metre is not dwelt upon at too great 
length, but is handled with a due regard to the amount of 
A* 



VI PREFACE. 

knowledge actually existing. The impossibility of establishing 
the precise mode in which the ancients applied their metrical 
principles, in several cases, such, for example, as the method 
by which the Greeks reconciled the metrical with the rhetori- 
cal accent, in reading or delivering verse, is duly acknowledged. 
The subject, it is believed, is laid out and discussed with scien- 
tific precision; the divisions are clear and obvious, and the 
proportions just. Every point is sufficiently illustrated by ex- 
amples, taken mostly from the purest Greek and Latin writers. 
The translators have had a difficulty in determining the proper 
technical terms in some instances; the subject has been so 
imperfectly handled in English, that the metrical nomenclature 
was not fully adequate to the exigencies of the case. Very 
few new terms, however, have been coined, and those the 
classical reader will at once comprehend from their etymology. 

The references of the author to the Greek and Latin poets, 
have been retained. In the citations from the Greek drama- 
tists, Dindorf's Poetae Scenici Graeci (Lips. 1830) has been 
used by him; in those from Pindar, Dissen's edition (Goth, et 
Erf, 1830). 

For the convenience of reference, an Index has been added 
by the translators. 

^Cambridge, Mass,, August, 1844 



CONTENTS, 



INTRODUCTION. 

DEFINITION, DIVISION, UTILITY, HISTORY AND LITERATURE 
OF THE METRICAL SCIENCE . . Page 1 



PART I. 

THE DOCTRINE OF RHYTHM. 

Chapter I. — Definition of Rhythm. — Arsis. — Thesis . . 8 
Chapter II. — Definition of Metre. — Long.-^Short ... 9 
Chapter III. — Union of Rhythm and Metre. — Kinds of Rhythms 11 
Chapter IV. — Irrationality, Middle Time . . . . 17 

Chapter V. — Movement.— Resolution of Longs. — Contraction 

of Shorts 20 

Chapter VI. — The Mode in which the Ancients adapted Rhythm 

and Metre to Words 21 

Chapter VII. — Series.— Stop. — Pause. — Acatalexis. — Catalex- 

is. — Syllaba anceps ........ 25 

Chapter VIII. — Combination of Series.— Definition of Verse. — 

Hiatus . . 28 

Chapter IX. — Of the Combination of Series and Verses into 

greater rhythmical Masses 33 

Chapter X. — Of the Substitution of one Rhythm for another . 36 
Chapter XI. — Caesura. — Diaeresis ...... 38 



PART II. 

THE APPLICATION OF THE LAWS OF RHYTHM TO POETRY BY THE 
GREEKS AND ROMANS. 

Introduction. — Brief Survey of the History of Greek and Roman 
Poetry with particular reference to the Metrical Form . 42 



vm 



CONTENTS. 



SECTION I. 

SIMPLE RHYTHMS. 

Chapter I. — Rhythms the Fundamental Foot of which 
triple-timed. — The double or Trochaic-iambic Class 

A. Falling, Trochaic Rhythms 

1. The Monopody. — Monopodia trochaica . 

2. The Dipody. — Dipodia trochaica 

a. The Monometer. — Monometer trochaicus 

b. The Dimeter. — Dimeter trochaicus 

c. The Trimeter. — Trimeter trochaicus . 

d. The Tetrameter. — Tetrameter trochaicus 

e. The Pentameter. — Pentameter trochaicus 

3. The Tripody. — Tripodia trochaica . 

4. The Tetrapody. — Tetrapodia trochaica . 

5. The Pentapody. — Pentapodia trochaica . 

6. The Hexapody — Hexapodia trochaica 

B. Rising, Iambic Rhythms .... 

1. The Monopody.— Monopodia iambica 

2. The Dipody. — Dipodia iambica 

a. The Monometer. — Monometer iambicus 

b. The Dimeter. — Dimeter iambicus 

c. The Trimeter. — Trimeter iambicus 

d. The Tetrameter. — Tetrameter iambicus 

3. The Tripody. — Tripodia iambica 

4. The Tetrapody. — Tetrapodia iambica 

5. The Pentapody. — Pentapodia iambica 

6. The Hexapody. — Hexapodia iambica 

Chapter II. — Rhythms the Ground Foot of which is four- 
timed. — The equal or Dactylic-anapaestic kind 
A. Falling, Dactylic Rhythms 

a. Rational Dactyls .... 

1. The Monopody, or the Monometer 

2. The Dipody, or the Dimeter 

3. The Tripody, or the Trimeter 

4. The Tetrapody, or the Tetrameter 

5. The Pentapody, or the Pentameter 

6. The Hexapody, or the Hexameter 

b. Irrational Dactyls. — Logaoedic Series 



CONTENTS. 



IX 



Aeolian Verses. 

1. Trimeter acat. 

2. Trimeter cat. in disyll. 

3. Tetrameter acat. 

4. Tetrameter cat. in disyll, . 

5. Pentameter cat. in disyll. . 

Logaoedic Dactyls. 

1. Logaoedic Dactyls with a simple dactyl 

a. Dactylicus simplex simplic. trochaicas 

b. Dactylicus simplex duplic. trochaicus 

c. Dactylicus simplex triplic. trochaicus 

d. Dactylicus simplex quadruplic. trochaicus 

2. Logaoedic Series with a double dactyl 

a. Dactylicus duplex simplic. trochaicus 

b. Dactylicus duplex duplic. trochaicus 

c. Dactylicus duplex triplic. trochaicus 
^ d. Dactylicus duplex quadruplic. trochaicus 

3. Logaoedic Series with a triple dactyl 

a. Dactylicus triplex simplic. trochaicus 

b. Dactylicus triplex duplic. trochaicus 

4. Logaoedic Series with a quadruple dactyl 
B. Rising, Anapaestic Rhythms . 

a. Rational Anapaests .... 

1. The Monopody. — Monopodia anapaestica 

2. The Dipody. — Dipodia anapaestica 

a. The Monometer. — Monometer anapaesticus 

b. The Dimeter. — Dimeter anapaesticus 

c. The Trimeter. — Trimeter anapaesticus 

d. The Tetrameter. — Tetrameter anapaesticus 

3. The Tripody. — Tripodia anapaestica . 

4. The Tetrapody. — Tetrapodia anapaestica 

5. The Pentapody, — Pentapodia anapaestica 

6. The Hexapody. — Hexapodia anapaestica 

b. Irrational Anapaests. — Logaoedic Series 

Cyclic Anapaests 

Logaoedic Anapaests .... 

1. Logaoedic Series with a simple anapaest 

a. Anapaesticus simplex simplic. iambicus 

b. Anapaesticus simplex duplic. iambicus 

c. Anapaesticus simplex triplic iambicus 

d. Anapaesticus simplex quadruplic, iambicus 



89 
89 



90 

90 

90 

93 

95 

95 

95 

95 

96 

96 

97 

97 

97 

97 

98 

98 

99 

99 

99 

100 

101 

101 

101 

101 

102 

102 

102 

102 

103 

104 

104 

104 

104 

105 



CONTENTS. 



2. Log'aoed'ic Series with double anapaest 

a. Anapaesticus duplex simplic. iambicus . 

b. Anapaesticus duplex duplic. iambicus 

c. Anapaesticus duplex triplic. iambicus 

d. Anapaesticus duplex quadruplic. iambicus 

3. Logaoedic Series with triple anapaest 

a. Anapaesticus triplex simplic. iambicus . 

b. Anapaesticus triplex duplic. iambicus 

4. Logaoedic Series with quadruple anapaest 

a. Anapaesticus quadruplex simplic. iambicus 

b. Anapaesticus quadruplex duplic. iambicus 



Chapter III. — Rhythms whose Ground Foot is five-timed. — 
The one and a half or Paeonic kind . 

A. Falling, Cretic Rhythms . 

a. Cretics with rational thesis 

1. The Monopody, or the Monometer 

2. The Dipody, or the Dimeter 

3. The Tripody, or the Trimeter 

4. The Tetrapody, or the Tetrameter 

5. The Pentapody, or the Pentameter 

6. The Hexapody, or the Hexameter 

b. Cretics with the irrational thesis. — Dochmius 

B. Bacchic Rhythms .... 

1. The Dipody, or the Dimeter . 

2. The Tetrapody, or the Tetrameter 

Chapter IV. — Rhythms the Ground Foot of which 
timed. — The Choriambic-ionic kind . 
A. Falling Rhythms .... 

a. Choriambs 

1. The Monopody, or the Monometer 

2. The Dipody, or the Dimeter 

3. The Tripody, or the Trimeter 

4. The Tetrapody, or the Tetrameter 

5. The Pentapody, or the Pentameter 

6. The Hexapody, or the Hexameter 

b. lonici a majore . . . , 

1. The Dipody, or the Dimeter 

2. The Tripody, or the Trimeter 

3. The Tetrapody, or the Tetrameter 



CONTENTS, 



XI 



Rising Rhythms. — lonici a minore . 

1. The Monopody, or the Monometer 

2. The Dipody, or the Dimeter 

3. The Tripody, or the Trimeter 

4. The Tetrapody, or the Tetrameter 



148 
149 
150 
151 
152 



SECTION n. 



THE COMBINATION OF SIMPLE RHYTHMS IN LONGER RHYTHMICAL 
PORTIONS. 



Chapter I. — Composition by the line; Stichic Composition 
1. Stichic Verses of the Trochaic-iambic kind 

A. Trochaic Verses . . . , . 
1. Dimet. troch. with a dimet. cret, 
"2. Dimet. troeh. with an ithyphallic 

3. Tetram. troch. aeat. — Versus octonarius 

4. Tetram. troch. cat. — Versus septenarius or quadratus 

5. Tetram. troch. claudus, or Hipponacteus, or quadratus 

scazon 

6. Pentam. troch. cat., vTteQ/iSTgov . 

7. Two Ithyphallics .... 

8. Versus Saturnius .... 

B. Iambic Rhythms . . . . . 

1. Dimet. acat. ..... 

2. Dimet. acat. with an ithyphallic 

3. Dimet. aeat, with a tetrapod. troch. cat. 

4. Trimet. acat 

a. The Trimeter of the lambographers 

b. The Trimeter of the Greek dramatists 
a. The tragic trimeter 
^. The satyric trimeter . 
y. The comic trimeter 
d. The trimeter of the Roman dramatists 

The lame Trimeter. — Trimeter claudus, scazon 
ponacteus, Choliambus, Mimiambus 

Tetrameter acatalectus. — Versus Boiscius . 

Tetrameter catalecticus. — Versus septenarius 
8. Tetrapodia catalectica .... 

9^ Two tetrapodiae catalecticae . . , 



5. 

6. 

7. 



Hip 



153 
154 
154 
154 
154 
155 
156 

159 
159 
159 
159 
161 
161 
162 
162 
162 
167 
167 
167 
171 
371 
173 

175 
176 
177 

180 
181 



xn 



CONTENTS. 



basis, 



II. Verses of the Dactylic-anapaestic kind, used by the line 

A. Dactylic Verses 

a. Rational Dactyls .... 

1. Dimeter cat. in disyll. — Versus Adonius 

2. Metrum Encomiologicum 

3. Metrum prosodiacum 

4. Metrum Choerileum 

5. Tetr. cat. in disyll. . 

6. Tetr. cat. in disyll. with an ithyphallic 

7. Versus heroicus 

8. Hexameter /^f/ot^()Off 

b. Aeolic and logaoedic verses 

1. Trim. cat. in disyll . 

2. Trim. acat. 

3. Tetram. cat. in disyll. 

4. Tetram. acat. . 

5. Pentam. cat. in disyll. '^Ettoq Alohaov 

6. Phalaeceus hendecasyllabus . 

7. Dactyl, log. simpl. duplic. troch. cat. with a 

and the same acat. with a cretic 

B. Anapaestic Verses 

a. Rational Anapaests 

1. Dimet. cat. in syll. — Paroemiacus 

2. Trim. cat. in syll. ^EfJL^ari'jQiov^ Messenicum 

3. Tetram. cat. in syll. — Versus Laconicus. — Versus 

Aristophaneus 

4. Tetram. acat. . 

b. Irrational, logaoedic Anapaests 

Versus Archebuleus 

III. Verses of the one and a half kind, used by the line 

A. Cretic Rhythms 

1. Tetram. acat 

2. Tetram, cat. 

B. Bacchic Rhythms 

Tetram. acat 

IV. Verses of the Choriambic-ionic kind, used by the 1 
A. Choriambic Rhythms . 

a. Choriambic series without the anacrusis and basis 
logaoedic terminations 

1. Trim, choriamb. 

2. Tetram. choriamb. . 



with 



CONTENTS. XUl 

3. Pentam. choriamb 207 

b. Choriambic series with the anacrusis and logaoedic ter- 

minations ........ 208 

1. Monomet. choriamb. ...... 20S 

2. Diniet. choriamb. ....... 208 

3. Trim, choriamb 208 

c. Choriambic series with the basis and logaoedic termi- 

nations ......... 208 

1. Monom. choriamb. Sapphicum enneasyllabum . 208 

2. Dimet. choriamb. Asclepiadeum I. ... 208^ 

3. Trimet. choriamb . . 209^ 

4. Trimet. choriamb. Asclepiadeum II. . . . 209^ 

5. Trimet. choriamb 210 

6. Tetram. choriamb 210 

Choriambic verses erroneously called polyschematist . 210' 

1. Epionicum polyschematistum . .... 210 

2. Metrum Eupolideum 211 

3. Metrum Cratineum 211 

4. Choriambicum polyschematistum .... 212: 

5. Versus Priapeus 212 

B. lonici a majore 214 

1. Trim. cat. in trisyll. — Versus Cleomacheus . . 214 

2. Tetram. cat. in disyll. — Versus Sotadeus . . . 214 

C. lonici a minore . . 216 

1. Dimet. acat. — Versus Anacreonteus .... 216 

2. Dimet. cat . 21^' 

3. Trimet. acat 219 

4. Trimet. cat 220 

5. Tetram. cat. — Galliambus 220 

Chapter II. — Distich Composition 222 

I. Of the double kind 223 

A. Trochaic Rhythms ....... 223^ 

1. Trochaicum. — Metrum Hipponacteum . . . 223' 

B. Iambic Rhythms . 223' 

1. Trim. iamb. acat. ; ithyphallic 223- 

2. Iambic um senarium quaternarium ... - 224 

3. Trim. iamb, acat.; trim. dact. cat. in syll. . . 225 

4. Trim. iamb, acat.; trim, dact. cat. in sylL with dim. 

iamb. acat. — Archilochium tertium . . . 225 

5. Trim. iamb. acat. ; dact. log. dupl. duplic. troch. acat. 226 

B 



XIV CONTENTS. 

6. Trim, iamb, acat. ; versus Phalaeceus , . , 226 

7. Trim. iamb, claiidus ; dim. iamb. acat. . . , 227 
Tetram. troch. cat. ; Adonius with the anacrusis . 227 
Trim. iamb. acat. ; Adonius with the anacrusis . . 227 

II. Of the equal kind 228 

Dactylic Rhythms 228 

T. Hex. her.; dim. iamb. acat. — Pythiambicum primum 228 

2. Hex. her. j trim. dact. cat. in syll. — Archilochium pri- 

mum 228 

3. Hex. her. ; dim. iamb. acat. and trim. dact. cat. in syll. 

— Archilochium secundum ..... 229 

4. Hex. her. ; trim. iamb, acat.— Pythiambicum secundum 229 

5. Hex. her.; tetram. dact. cat. in disyll. — Alcmanium . 230 

6. Hex. her. ; pentam. elegiac. — Distichon elegiacum . 230 

7. Hex. her. ; hex. /usiovQog^ 233 

8. Tetram. dact. acat. and ithyphallic; monom. troch. 

with the anacrusis and ithyphallic— Archilochium 

quartum ......... 233 

9. Tetram. dact. acat. and ithyphallic; monom. troch. 

with the anacrusis and dact. log. dupl. duplic. troch. 
acat .234 

10. Tetram. dact. acat. and ithyphallic ; Versus Phalaeceus 235 

11. Versus Phalaeceus ; tetram. dact. acat. and ithyphallic 235 

12. Two ithyphallics with an anacrusis; tetram. dact. 

acat. and ithyphallic ...... 235 

13. Dact. log. simpl. duplic. troch. acat. ; monom. troch. 

acat. ; a choriamb, and a dact. log. simpl. duplic. 

troch. acat. — Sapphicum majus .... 236 

14. Dact. log. simpl. triplic. troch. cat. and dact. simpl. 

duplic. troch. cat. ; dact. log. simpl. triplic. troch. 

cat. and dact. dupl. duplic. troch. cat. . , . 236 

III. Of the Choriambic-ionic kind ..... 237 

1. Asclepiadeum secundum ...... 237 

2. Glyconic; tri met. choriamb, with basis and logaoed. 

termination .......... 238 

Composition xctra TQioTt^ov . • . . . . 238 

Polymetric Rhythms .239 

Chapter III. — Systematic Composition 240 

I. Systems of the double kind 241 

A. Trochaic Systems 241 



CONTENTS. 



XV 



B. Iambic Systems 

II. Systems of the equal kind 

A. Dactylic Systems . 

a. Systems of the lyric poets . 

b. Systems of the dramatists . 

B. Anapaestic Systems 
Strict Systems 
Freer Systems 

III. Systems of the Paeonian kind 

A. Cretic Systems 

B. Dochmiac Systems 

C. Bacchic Systems . 

IV. Systems of the Choriambic-ionic kind 

A. Choriambic Systems 

B. Glyconic Systems 

a. Pure Glyconic Systems 

b. Polyschematist Glyconic Systems 

C. Ionic Systems 

a. Pure Ionic Systems 

b. Polyschematist Ionic Systems 

Chapter IV. — Strophic Composition 

I. Strophes of the double kind 

A. Trochaic Strophes 

1. Dim. acat. 3 t. ; dim. cat. 

2. Dim. acat. 5 t. ; dim. cat. 

B. Iambic Strophes . 

II. Strophes of the equal kind 
Dactylic Strophes 

1. Strophe Sapphica 

2. Dact. log. simpl. triplic. troch. cat. ; 

duplic. troch. acat.; dact. log. dupl 
cat. ; dact. log. simpL triplic. troch 

3. Strophe Alcaica 

4. Phalaecean verse. — Anap. log. simpl. 

acat. and a choriamb; 2dact.log, 
troch. cat. 

5. Dact, log. dupl. duplic. troch. acat, 

dact. log. dupl. duplic. troch. acat 
dact. log. dupl. duplic. troch 
simpl. triplic. iamb. acat. 

III. Strophes of the Choriambic-ionic kind 



243 
244 
244 
244 
245 
246 
246 
250 
253 
253 
255 
257 
257 
257 
258 
258 
263 
267 
267 
268 

270 
271 
271 
271 
271 
272 
274 
274 
274 



dact. log. simpl. 
. duplic. troch. 
cat. 



simpllc. iamb, 
simpl. duplic. 



acat, 



with a basis ; 
with a basis; 
anap. log. 



279 

279 



282 



284 
284 



XVI 



CONTENTS. 



A. Choriambic Strophes 

1. Asclepiadeum tertium 

2. Asclepiadeum quartum 

B. Ionic Strophes 



Chapter V. — Choral Composition 

A. Antistrophic Composition 

I. Antistrophic Songs of the Dorian lyric poets 
Alcman . 
Stesichorus 
Pindar 

Dorian Strophes . 
Aeolian Strophes 
Lydian Strophes 

II. Antistrophic Songs of the dramatists 

I. Trochaic-iambic Choral Songs . 

a. Strophes of a trochaic principal rhythm 

b. Strophes of an iambic principal rhythm 

II. Dactylic- anapaestic Choral Songs 

a. Strophes of a dactylic principal rhythm 
a. Rational Dactyls 

^. Logaoedic Dactyls 

b. Strophes of an anapaestic principal rhyth: 

III. Cretic Choral Songs 

Dochmii 

IV. Choriambic-ionic Choral Songs 

a. Strophes of a choriambic principal rhyth 
Glyconics 

Original Form 
Polyschematist Form 

b. Strophes of an ionic principal rhythm 
Monodies 

Kofifioi and zofifiarmd 
Parabasis 

B. Free Choral Songs . 



Index 



INTRODUCTION. 



DEFINITION, DIVISION, UTILITY, HISTORY AND LITERATURE OF 
THE METRICAL SCIENCE. 

Every work of art contains a subject and a form. The 
idea constitutes the subject ; the form is the manner in which 
the idea is revealed to the senses. 

The material is the substance perceptible by the senses by 
means of which the artist embodies the idea. A material is 
to be apprehended with reference either to space or to time* 
That which receives a form in space is called figure ; that 
which receives it in time is called rhythm. 

Although a material as such has by nature a form, yet this 
form is in most cases of no use for the purpose of the artist, 
and has, therefore, to be modified by him according to his 
purpose. He converts the natural into an artistic form. 
The chief quality of every work of art being beauty, the ar- 
tistic figure as well as the artistic rhythm must be beautiful. 
In this case we say the artistic figure has symmetry, and the 
artistic rhythm has eurhythmy. 

The transformation of the rough material, therefore, into 
an artistic form takes place according to certain general and 
necessary laws, all of which must be derived from the idea 
of beauty. 

In a poetical work of art the substance is the poetical idea, 
but \heform in which the poetical idea is embodied, the^«r- 
iicular kind of poetic composition. The material is the lan- 
guage, and its form the rhythm, because the perception of 
language falls in time. The rhythm adapted according to 
art to the words, is called metre. The metrical science there- 
fore, is the doctrine of artistic rhythm and of its application 
to poetry. 

The metrical science accordingly consists of two parts, a 
general which treats of the idea and laws of rhythm, and a 
1 



2 INTRODUCTION. 

particular which contains the application which the Greeks 
and Romans, with w^hose metrical art we have here to do, 
made of these laws. 

The study of the metrical art of the ancients has a two-fold 
value. 1. An aesthetic both for the poet who is to derive from 
the contemplation of the finished form of classical poems the 
same benefit that the plastic artist derives from the contem- 
plation of ancient works of art, and for the reader of Greek 
and Roman poets who wishes to understand and judge them 
correctly with reference also to metrical form. This study 
has, 2, an historical value to the antiquarian, since the me- 
trical art as a production of antiquity bears on itself the pe- 
culiar stamp of its origin. To this is to be added, that a 
knowledge of the metres is of essential service to the critic, 
in settling the text of ancient poets. 

Rhythm as a part of music was first treated scientifically 
by the Pythagoreans. We possess single notices only and 
fragments of their doctrine in the writings o^ Plato and Aris- 
totle. Most important are the fragments of the Elements of 
Harmony and Rhythm by Aristoxenus the Tarentine, (in 
Meibom. antiquae musicae auctores VII. Tom. I, and in 
Aristidis Orat. adv. Leptin. ed. Jac. Morellius Venet. 1785). 
Various information is found also in Meibom's Antiquae mu- 
sicae auctores septem, Amstel. 1652. 2 Tomi 4 ; in Aristi- 
des Quintilianus de musica (Meibom. a. m. auct. Tom. II.) 
in Cicero (Orat. c. 50 sqq.), in Quintilian (Instit. orat. IX. 
4), in Dionysius of Halicarnassus (de compositione verbo- 
rum), in Plutarch (de musica), in Augustinus (de musica), 
Martianus Capella, and others. 

It was not until the Alexandrine age that the metrical sci- 
ence seems to have been treated of separately from music. 
The grammarians confined themselves generally to a careful 
observance of the poetical usage. Aristophanes of Byzan- 
tium, who was the first to divide the lyric poets into KoSla and 
introduce broken lines, Apollonius 6 eidoyQcicpog, and others 
deserve credit for their metrical labors. The metrical ma- 
nual of Hephaestion (Hcpaiaricovog iyx^iQcdiov ttsqI i^stqcov 
y.al TTOiriiJidrcov ed. I. C. de Pauw Traj. ad Rhen. 1726, 4 ; ed. 
Thorn. Gaisford Oxon. 1810, 8 ; Lips. 1832, 8.), Longinus^s 
Prolegomena to the manual of Hephaestion (Hephaest. ed. 
Gaisford, p. 137, ed. Lips. p. 140), and Dracoes work on me- 
tres (Draconis Stratonicei de metris poet, et I. Tzetzae Exeg. 
in Homer. Iliad, pr. ed. God. Hermann Lips. 1812, 8), belong 



INTRODUCTION. O 

to a later age. The metrical writings of Manuel 3IoscJi oj)u- 
lus (Opuscula grammat. Moschopuli ed. F. N. Titze Prag. 
1822, 8), of TricJia, Elias Charax and Herodianus (Appen- 
dix ad Dracon. Strat. libr. de metr. : compl. Trichae, Eliae 
Mon. et Herodiani tract, de metris graece ex codd. Mscr. ed. 
Fr. de Furia Lips. 1814, 8), are unimportant. Finally the 
metrical Scholiasts are to be mentioned, and among them 
especially Demetrius Triclinius. 

Among the Romans, also, the grammarians occupied them- 
selves much with metrical science. We still possess a poem 
of Terentius 3Iau7^us on prosody and metre (in Putsch Gram- 
matt, vett. Lat. p. 2383 sqq. ; Terent. Mauri de litteris, syl- 
labis, pedibus et metris ex recensione et cum notis Laur. San- 
tenii absolvit D. I. v. Lennep, Traj. ad Rhen. 1825, 4). Be- 
sides him are to be mentioned Servius Maurus Honor atus 
(Centimetrum in Putsch, p. 1815 sqq. ed. L. v. Santen Lugd. 
Bat. 1788, 8 ; ed. F. N. Klein, Confl. 1824, 4), Flavius Mai- 
lius Theodorus (de metris, emend. I. F. Heusinger, Guelferb. 
1755, 4, auct. Lugd. Bat. 1766, 8), Marius Plotius (de me- 
tris liber in Putsch, p. 2623, sqq.), Atilius Fortunatianus 
(de metris Horatianis in Putsch, p. 267], sqq.), Maxirnus 
Victorinus (libelli tres de re grammatica, de carmine heroico 
et de ratione metrorum in Lindem. Corp. Grammat. Lat. p. 
267, sqq.), Marius Victorinus (in Putsch, p. 245, sqq.), Di- 
omedes (in Putsch, p. 270, sqq.) and others. 

Richard Bentley was the first of modern philologists to 
make investigations of his own concerning the metrical art of 
the ancients, particularly in his Schediasma de metris Teren- 
tianis (Terentii Comoedia rec. R. Bentley, 1726, 4, Lips. 
1791, 8, likewise in Plauti Rudens ed. Fr. Vol. Reiz, Lips. 
1789, 8), and applied them with great success in criticism. 
Fr, Wolfg. Reiz followed him as regards the metres of the 
Romans. The labors of Benjamin Heath, Rich. Brunch 
and particularly Rich. Porson (especially in the preface to 
his second edition of his Hecuba of Euripides, Lond. 1797, 
Lips. 1824, 8), concerning the metres of the Greek tragedi- 
ans, are meritorious. Corn, de Pauw and Thorn, Gaisford, 
also, in their editions of Hephaestion, have done something 
for metrical science. 

Gottfried Hermann was the first to bring forward a scien- 
tific theory of metres, founded upon Kant's doctrine of the 
Categories (de metris Graecorum et Romanorum poetarum, 
Lips. 1796; Handbuch der Metrik, Manual of metrical sci- 



4 INTRODUCTION. 

ence, Leips. 1799 ; Elementa doctrinae metricae, Lips. J816; 
Epitome doctrinae metricae, Lips. 1818. Numerous obser- 
vations are scattered in his editions of Greek and Roman po- 
ets, and in his other philological writings. Concerning the 
theory of Hermann compare Apel's Metrik, part I. § 44 — 52, 
C. Freese, de Hermanni metrica ratione, Hal. 1829). J. H. 
Voss^ in his work : Zeitmessung der deutschen Sprache, Me- 
trical system of the German language, Koenigsb. 1802, ad- 
vanced a different theory. He reduces the doctrine of rhythm 
to the doctrine of time in modern music. Aug. Apel in his 
Metrik, Leipz. 1814, 2 vol. 8, and Aug. Boeckh, in his disser- 
tation : On the metres of Pindar, Berl. 1809, adopted the 
theory of Voss. The latter however, formed afterwards a 
theory of his own, founded upon the ancient musicians and 
philosophers, in his dissertation : de metris Pindari in Tom. 
I. Pars II. of his edition of Pindar : Pindari opera quae su- 
persunt recens. A. Boeckhius, Lips. 1811 — 1822, 2 Vol. in 
3 Part. 

Besides these many others have written partly on rhythmi- 
cal and metrical science in general, as Cleaver : de rhythmo 
Graecorum, Oxon. 1789, L, L Doering : Entwurf der reinen 
Rhythmik, Plan of a pure rhythmical science, Meissen, 1807, 
G. F, Mueller : Ueber den Rhythmus, on rhythm, Coeln, 
1810, W. Lange, Fundamental-Metrik, Fundamental Metri- 
cal Science, 1819, 8, K, Besseldt : Beitraege zur Prosodie 
und Metrik der deutschen und griechischen Sprache, Contri- 
butions to the prosody and metrical science of the German 
and Greek languages, Halle, 1813, JF. A. Gotthold : An- 
fangsgruende der griechischen, roemischen und deutschen 
Verskunst, Elements of the metrical art of the Greek, Latin, 
and German languages, Koenigsb. 1820 ; — partly on single 
branches of the science, as ^. Seidler : de versibus dochmia- 
cis tragicorum Graec. Lips. 1811, 1812, 2 tom., Karl Lack- 
mann : de choricis systematis tragicorum Graec. libr. IV. Be- 
rol. 1819, Franz Spitzner : de versu Graecorum heroico. 
Accedit dissertatio de media syllaba pentametri Graeci ele- 
giaci auct. Fr, Traug. Friedmann, Lips. 1816, 8, C. Bur- 
ney : Tentamen de metris ab Aeschylo in choricis cantibus 
adhibitis, Cantabr. 1810, 8. 

Besides the above named works, much is to be found part- 
ly in separate dissertations, partly in the different editions of 
Greek and Roman poets. A collection of the most common 
rhythms and metres is contained in E. Munk's Tabular view 



INTRODUCTION. 5 

of the Metres of the Greeks and Romans, Glogau and Lissa, 
1828. F. Lindemann : Uebungsbuch zur Fertigung grie- 
chischer Verse, Book of exercises for making Greek verses, 
Dresd. 18*25, and F. T. Friedmann : Anleitung zur Kentniss 
und Verfertigung lateinischer Verse, Guide to the knowledge 
and making of Latin verses, 3d ed. Braunschvi^. 1832, are 
deserving of recommendation for writing Greek and Latin 
verses. 



PART L 

THE DOCTRINE OF RHYTHM. 



CHAPTER I. 

Definition of Rhythm. — Arsis. — Thesis, 

Rhythm, (numerus) as the artistic form of the material 
considered with respect to time, is perceptible either in the 
movement of the body in the dance, or in musical tone in mu- 
sic, or in the articulate sound of speech in poetry. It presents 
itself to us in a succession of small portions or divisions of 
time, vi^hich must be so constituted that they may be appre- 
hended by the ear. If they follow too rapidly, they run to- 
gether, and the sense cannot adequately distinguish them from 
each other ; if they follow too slowly, they escape the percep- 
tion, because a division of time, the beginning and end of 
which we cannot seize, is the same as infinite to the hearing. 

Time, and portions of it appreciable by the senses, are con- 
ditions of every Rhythm, even that of nature, as we hear it, 
for example, in the rolling of the thunder, or the murmuring 
of the brook, or the whispering of the leaves. The rhythm 
of art must manifest itself as a whole as the definite form of a 
definite substance ; not only its parts must be limited but it 
must itself have a beginning and an end. Beginning and end, 
here, also, must not follow too closely upon each other, nor 
stand too wide apart; in the former case, the rhythm as a 
whole would not satisfy the ear; in the latter the hearing 
would not be able to grasp the rhythm as a whole. A rhythm 
of art, moreover, as the form of the material whereby a poeti- 
cal work of art is presented to the senses, must be beautiful, 
that is, various in its parts, but in such a manner that this 
variety of the parts may be formed into a unity, — a whole. 
"Without variety of the parts the rhythm would be monoto- 
nous, and therefore not beautiful : without unity of the parts, 



8 RHYTHM. ARSIS, THESIS. 

it would be an aggregate of parts, each of which would be a 
whole by itself. 

Therefore rhythm in general is a succession of portions of 
time perceptible to the senses ; the rhythm of art, is a beauti- 
ful whole, consisting of portions of time, variously following 
each other, perceptible to the senses, to be apprehended by 
the hearing. 

In order to produce a rhythm, there must exist a force 
which divides the uninterrupted flow of time into portions of 
time. This force may operate sometimes more strongly, at 
other times more weakly. The stronger operation of force is 
called the ictus or heat, and the portion of time which is pro- 
duced by such an operation of force is called arsis ; the por- 
tion of time on the other hand, which is the product of the 
weaker operation of force, is the thesis. The sign of the arsis 
is ' ; the thesis is not marked. By the constant interchange 
of arsis and thesis, variety of rhythm is produced. If thesis 
follows upon thesis, or arsis upon arsis, the variety of the 
rhythm is interrupted, and instead of eurhythmy, arrhythmy 
is produced. Arrhythmy also the poet may frequently employ 
with propriety, as the musician uses discords. The succes- 
sion of arses and arses, or theses and theses, is often only 
apparent. 

A rhythm which begins with the arsis, and descends to the 
thesis, is called falling or sinking ; that which begins with 
the thesis and ascends to the arsis, is called rising. The 
former is calmer and more relaxed; the latter, livelier and 
more forcible. 

A thesis with which a rhythm begins is called anacrusis 
or an upward heat. 

Arsis and thesis stand in a mutual relation to each other, 
since the one determines the other. This mutual relation 
renders it possible to comprehend the various parts as a 
whole. That is, the arsis must stand to the thesis in a defi- 
nite and appreciable relation ; and this relation in Greek 
rhythms is either equal, 1:1; or two to one, 2:1, or one 
and a half to one, l|^ : 1,3:2. 

The mutual relation of arsis and thesis extends not only 
to the simplest component parts of the rhythm but also to all 
combinations. Thus arises a whole system of relations, which 
are subordinate to each other. It is not always necessary 
that the relation of arsis and thesis of the simple component 
parts, should be similar to the relations of the combinations; 



METRE. LONG, SHORT. 



but with regard to the ascending and descending, the latter 
conform themselves to the former. Where this does not take 
place, there occurs an arrhythmy. 



CHAPTER II. 

Definition of 3Ietre, — Long, Short. 

The expression of force which, by its stronger or weaker 
intensity, produces arsis or thesis, and separates the single 
portions of time from one another and thereby defines them, 
determines by its extension the duration also of the portions 
of time, and gives them thereby their measure, (astqcv, me- 
trum. In metre, a long signifies that portion of time which, 
by that expression of force, is extended longer than another 
which is called a short, in the same manner as in rhythm 
arsis signifies that portion of time on which there is a great- 
er stress than another which is called thesis. 

The sign for a long is — , for a short ^ . 

As we found rhythm to be a definite succession of arses 
and theses, so metre is a definite succession of longs and shorts. 

Different metres may be adapted to a particular rhythm : 
/ / /o ^ / 

and, the reverse, different rhythms to a particular metre : 



The constituent parts of the metre, the long and short, 
stand in a relation to each other, similar to that of arsis and 
thesis in rhythm ; the one is measured by the other. If we 
set down the short, being the smallest measure of time (xQOVOQ, 
OTjixHov, mora) = 1, the long is = 2. 

Both measures, long and short, may be variously combin- 
ed, whence metres arise. The simplest combinations of both 
measures are called feet (Ttodeg, pedes). The following are 
the names of the most common feet : 

1. Feet of two times, ^/;f{)o^of, diorjiioi.^ 
- - Pyrrhichius, Pyrrhich. 

* The names of the feet are thus explained : Pyrrhich, ^rom nvQ^i- 
yri, a war-dance : Tribrach, from zQi^Qayvg^ three shorts ; Trochee^ 



10 METRE. LONG, SHORT. 

I 

2. Feet of three times, rQiy^Qovoi, tQiarnioi. 

V. w ^ Tribrachys, Tribrach. 

- - Trochaeus, Trochee. 
^ — Iambus, Iamb. 

3. Feet of four times, rsrQcixQOVot, rexQaorjiioi, 

- - - ^ Proceleusmaticus, Proceleusmatic. 

- ^ ^ Dactylus, Dactyl. 

- — - Amphibrachys, Amphybrach. 
^ - — Anapaestus, Anapaest. 
Spondeus, Spondee. 

4. Feet of five times, 7t8VTd)[Qovoi, nevrdarnioi, 

^ - - Bacchius. 

- - - Amphimacer. 

- - ^ Palim-bacchius, or Anti-bacchius. 

- ^ ^ ^ First Paeon. 

^ - ^ ^ Second Paeon. 
^ - - ^ Third Paeon. 

- - ^ - Fourth Paeon. 

5. Feet of six times, s^d^Qovoi, s^dornjioi, 

- - ^ ^ Sinking lonicus, (lonicus a majore). 
V. V Rising lonicus, (lonicus a minore). 

- ^ ^ - Choriambus. 

Antispastus, Antispast. 

- w _ ^ Ditrochaeus, Ditrochee. 

- - ^ - Diiambus, Diiamb. 

- - ». Molossus. 

6. Feet of seven times, sTTtdxQOvoi, aTttdarnioi, 

V. Fii-st Epitritus, Epitrite. 

- - — Second Epitritus. 

from rQOxatog, running, swift ; Iambus^ perhaps from IditTOjy to assail 
or satirize, being used originally in satire ; Proceleusmatic^ from ttqo^ 
aalsvofiarcaoqy urging or^ cheering on ; Dactyle, from 8dnTvko?j fin- 
ger ; Jlmpliibrach, from a/ufpi^^axvg^ short at both ends ; Anapaest, 
from dvoLTiaLGTogy struck back, that is contrary to the dactyle ; Spon- 
dee^ from GTtovSsiog^ used on solemn occasions, iv rdcg onovddig ; 
Bacchius^ from Banynog^ used in Dithyrambic hymns in the festivals 
of Bacchus ; Palimbacchius or Antibacchius^ Bacchius reversed ; 
Amphimacer^ from afiqAfianqogy long at both ends ; Paeon^ from nai- 
OJV^ a song of praise or triumph ; Jonic^ from lojVLKog, Ionian, being 
used especially by the lonians ; Choriambus^ composed of a choree 
(trochee) and an iambus ; Antispast^ from avTiGTiaoTog, drawn con- 
trary ; Molossus, from Moloooog, a Molossian ; Epitrit, from iTrl- 
TQCTogj three long syllables, and one short in addition, 67r/; Doch- 
mius^ from hoy^iog^ oblique. Trs. 



KINDS OF RHYTHMS. 



11 



- - - - Third Epitritus. 
s. Fourth Epitritus. 

7. Feet of eight times, oxrdxQOvoi, oxrdar^fjiot. 

- — - - Dochmius. 

Dispondeus, Dispondee. 

These feet might also be arranged according to the num- 
ber of syllables, into feet of two, three, four, etc. syllables. 

All these feet are a definite system of times, in which the 
rhythm is undetermined. 



CHAPTER III, 



Union of Rhythm and Metre. — Kinds of Rhythms, 

In Rhythm we have a mutual relation of arsis and thesis, 
and in metre a similar one of long and short. If we would 
bring rhythm and metre into harmony, the equality of the 
two relations will be a principal requisite. 

The rhythmical relation of equality, 1 : 1, 2 : 2, 4 : 4 per- 
mits the substitution of the following metrical forms : 

11 22 22 2244 



Falling Rhythms. 




Rising Rhythms. 




- ^ Pyrrhich. 




- - Pyrrich. 




— Spondee. 


.^ 


— Spondee. 


^ 


w V. w w Proceleusmatic. 


CO 


V w ^ w Proceleusmatic. 




- - - Dactyle. 




^ ^ - Anapaest. 




Spondeus major. - 




(?) Spondeus major. - 





This substitution forms the equal kind, yEj^og laov, genus 
par. It is called also the Dactylic, because the Dactyle be- 
longs here as the principal foot. The character of the equal 
kind is uniformity, repose and dignity. 

The relation of thesis and arsis may also be that of the dou- 



12 KINDS OF RHYTHMS. 

ble : 1 : 2, 2 : 4, 4 : 8. Corresponding to this is the relation 
of the double in metre : 

1 



2 1 


2 4 8 2 


1 2 


1 8 4 



Falling Rhythms. Rising Rhythms. 

- ^ - Tribrachys ab arsi ^ ^ ^ Tribrachys a thesi. 

- - Trochee — Iamb. 

Trochee semantus. Orthius. 

This substitution gives the double kind, ysvog diTilmiov, 
genus duplex, or the Iambic. 

In the rising rhythm - - - , the first portion of time is in 
thesi, the other two are in arsi. The two portions of time of 
the arsis, considered by themselves, have again a relation of 
intensity, and indeed that of equality, because the relation of 
extension also is that of equality, and because the principal 
relation of the whole rhythm is rising, this subordinate one 
is also rising. The arsis falls therefore on the second portion 
of time in the second principal division : 

t. a. 

t. a. 

Of these three portions of time, accordingly, the third will 
have the greatest intensity, because a part of the ictus of the 
chief arsis, and a subordinate arsis are united in it. By this 
strong intension of one portion of time the equilibrium be- 
tween arsis and thesis, towards which every rhythm tends, is 
to a certain extent restored, for what is wanting to this divi- 
sion in extension, is made up, though not completely, by in- 
tensity. At the same time a gradual ascent from the weaker 

to the stronger - - - is hereby effected ; the first division of 
time is, both in reference to the whole rhythm, and in refe- 
rence to the second division in thesi ; the second division of 
time is strono-er, because in relation to the first it is in arsi. 
but the third is the strongest, in relation to which the second 
stands in thesi. 

In a similar manner, in the falling rhythm, the first part 



KINDS OF RHYTHMS. 



13 



will have the strongest intension, because in it a part of the 
principal arsis is united with the subordinate, 
a. t. 
a. t. // / 

and here also there is an effort after equality, and a gradual 
sinking from the stronger to the weaker. In the reading of 
such rhythms this must be carefully observed. For example, 
if homine stands for an iambus, it is an error to raise the se- 
cond syllable by the strongest ictus, as is commonly done ; 
the first syllable, on the contrary, receives the least stress, the 
second somewhat more, the third the most, and the reverse, 
where homine stands for a trochee. 

The inequality of the times, and the arsis with the greater 
stress, give to the double kind, the character of animation 
and mobility. 

From the equal and double kinds, two different species 
have again been composed, in which either the double is 
adopted as the leading relation of intensity and extension, and 
the equal, as the subordinate ; or the equal as the leading re- 
lation, and the double as the subordinate. 

To the first species belong the Ionic Rhythms. 

Falling Rhythms. Rising Rhythms. 

a:4 = t:2 t:2 = a:4 



a:2=:t:2 



i:lz=:t:l t:l=a:l t:2r=:a:2 

lO- w c, Iq. 

nicus a majore. nicus a minore. 

To the second the choriambic and antispastic : 

Falling Rhythms. Rising Rhythms. 

a:3 = t:3 t:3 = a:3 



a:2=:t:l 



t : 1 = a : 2 t : 1 = a : 2 a : 2 == t : 1 

— Chori- - — — - Anti- 

ambus, spastus. 

In the Ionic a majore the spondee is in arsi, the pyrrhich 
in thesi. In the spondee, the first long is in arsi, the se- 
cond in thesi, and in the pyrrhic the first short in arsi, the 
second in thesi ; consequently the first long of the Ionic, has 



the strongest intension : 

2 



In the ionic a minore the 



14 



KINDS OF RHYTHMS. 



relation is the reverse. In order to restore the rhythmical 
equipoise, in the ionic a majore, the first, in the ionic a mi- 
nore the second long, have to supply by their intension an 
extension of two shorts ; but since this is not possible, both 
rhythms are deficient in rhythmical completeness. 

Also, the choriamb and the antispast, are arrhythmic, be- 
cause the subordinate relations are opposed to the princi- 
pal relations : yet, in the antispast there is effected a forcible 
arrhythmy by the concurrence of two arses, which is often 
very w^ell applied. No verses however have been composed 
of the antispast, but it has only been used singly, and the cho- 
riamb is frequently dactylic, and then entirely rhythmical. 

A third kind of rhythms is produced by the relation of one 
and a half to one between the arsis and thesis : 1^ : 1, 3 : 2. 



2 3 2 

Falling R 
a:3 =. 


3 2 

hythms. 

t:2 


3 

i 


3 

t: 


2 3 2 3 

> 1 > 

Rising Rhythms. 

2 = a:3 

A 


2 


a:2=t:l a: 

a:3 = 

t:l=a:2 a: 


l=t:l 

a m 
t:2 

A 


iticus 
ajore. 

Bac- 
.hius. 


t:l=a:l 

t:2 = 

A 


t:l=a:2 
- -^ Creti 
a min 
= a:3 

A 


icus 
ore, 

im- 
ius. 


1=1:1 

c 


a:l= 


=t:l 


a:2 


=t:l 
. . Pa 

bacch 



This kind is called the three half, yevog rnxioliov, genus ses- 
quialterum, or paeonic. In the falling cretic, the first arsis, 
in the rising, which cannot be found, the second arsis, has the 
strongest intensity. The rhythmical equipoise is restored by 
the iambic intension of the first long, which makes up for the 
one short, which is wanting to the extension. The middle 
syllable is in thesi, with respect to the first long; the second 
long is in thesi with respect to the trochee, but in arsi with 
respect to the short. The ictus of this long bears the same 
relation to that of the first, as the dactylic to the trochaic. 
On account of the inequality of the times and the falling and 
rising of the rhythm, the cretic is of a light and lively charac- 
ter. 

The bacchius is arrhythmic on account of the opposition 
of the rising and falling in the principal and subordinate re- 



KINDS OF RHYTHMS. 



15 



lations. It is therefore not used, except in a few passages of 
the tragedians. The elder Roman dramatists used it more 
frequently. The palimbacchius is equally arrhythmic, and 
occurs neither in the Greek nor Roman poets. 

Besides these three kinds of rhythms, there is still another, 
but which was early rejected by the ancients, namely, the 
yivog mtzQirov, or genus sesquitertium, or the epitrite kind 
in which the relation of intension and extension was Ig^ : 1, 
4 : 3, 8 : 6. 
3 4 314 34 4 34343 



Falling Rhythms. 

a:4 = t:3 



Rising Rhythms. 

t:3 =: a:4 



a:2=:r:t:2ja:2=t:l 



Epitritus 
IV. 



a : 4 = t : 3 



t:2=a:2 



t:l=a:2 



t:l=a:2 
t:3 = 


t:2=a:2 
= a:4 

A 



Epitritus 
I. 



Epitritus 
III. 



a:2=zt:l 



a : "^=.1 : 2 



Epitritus 
11. 



In poetry this kind is no more to be found. 

We may also divide the different rhythms according to the 
number of times, of which its fundamental foot consists. 

I. Rhythms whose fundamental foot consists of three times. 

a) falling, trochaic ; 

b) rising, iambic. 

II. Rhythms whose fundamental foot consists of four times; 

a) falling, dactylic ; 

b) rising, anapaestic. 

III. Rhythms whose fundamental foot consists of five times; 

a) falling, cretic bacchiac. 

IV. Rhythms whose fundamental foot consists of six times ; 

a) falling choriaaibic, ionici a majore ; 

b) rising, ionici a minore. 

A foot in which a rhythm is established, is called a metre. 

A series of equal metres is called a simple rhythmical se- 
ries (ordo rhythmicus simplex). 

The metres also stand in the relation of arsis and thesis. 

In the double kind, two feet {dinodia, av^vyta) always form 
a metre* The reason of this lies in the tendency towards the 



16 KINDS OF RHYTHMS. 

relation of equality. There is produced by this an equal 
principal relation of arsis and thesis. 

a:3==t:3 t : 3 z= a : 3 



In the trochaic dipody, the first arsis will have in relation 
to the second a stronger intensity, because a part of the prin- 
cipal arsis is united in it with a subordinate one. For the 
same reason, in the iambic dipody the second arsis has the 
stronger intensity. This must be carefully observed in read- 
ing such series. 

According to the analogy of the equal kind, two anapaests 
may also be united in a metre or a dipody. In all the other 
measures, each foot forms a metre by itself 

A rhythmical series may consist either of one metre, a mo- 
nometer ; of two metres, a dimeter ; of three, a trimeter ; of 
four, a tetrameter ; of five, a pentameter ; of six, a hexameter. 
Longer rhythmical series do not occur. 

Trochees, iambs, and anapaests are not to be always mea- 
sured according to dipodies, or metres. The feet are often 
arranged singly. A series of one foot is called a monopody ; 
of two feet, a dipody ; of three, a tripody ; of four, a tetrapo- 
dy ; of five, a pentapody ; of six, a hexapody. 

The iambic, trochaic, and anapaestic tetrapodies and hex- 
apodies, are distinguished from dimeters and trimeters by the 
beat. 
_'-_-_-_- Tetrap. troch. v--'----v._ Tetrap. iamb. 

J--_v-|--_v> Dimet. troch. - _' - _ | - J v' - Dimet, iamb. 
_'-_v._v._v._v._^ jjex. troch. ^-.'-~^------_ Hex. iamb. 

-.'^--|-'^--|---- Tri. troch. --^-|--'^-|^-v._ Tri. iam. 

If we assume the short at J beat, the iambic and trochaic 
tetrapody is =: ^^, the trochaic and iambic dimeter = f beat, 
the trochaic and iambic hexapody = l^, the trochaic and 
iambic trimeter = f beat. Likewise the trochaic pentameter 
and hexameter have f beat ; the trochaic and iambic tripody 
f ; the pentapody y^ beat. 

If also we assume in the dactylic kind, the short at J beat, 
then the dactyle and anapaest, as metre, correspond to our 
f beat ; the anapaestic dipody, to our | beat. The cretic is 
similar to our § beat; the ionic and choriambic rhythms, to 
the I beat. 



IRRATIONALITY, MIDDLE TIME. 17 



CHAPTER IV, 

Irrationality , Middle Time, 

A relation which is measurable by the unit, is a rational 
one {grjiov). But there is also an irrational {akoyov) rela- 
tion which cannot be measured by the unit. The irrational 
time in rhythm stands between the arsis and thesis, in metre 
between the long and the short. If we set down the thesis 
=z 1, the arsis = 2, the irrational time is = IJ. In like 
manner in metre, where the short is = 1, the long z= 2, the 
middle time is = 1|. The middle time, when standing for 
the short of the thesis, is marked ~ . 

Irrationality takes place in the double kind in the thesis^ 
in the equal in the arsis. Thus from a trochee -' ^ a xoQUog 

f — 
"tQOXoeidi^g, so called, — ^ arises, and by the solution of the 

arsis ^ ^ — the trochoidic anapaest ; and from an iamb ^ — the 

— f 
^OQecog ia(i^o£idrjg ^ — , and by the solution of the long of the 

arsis — ^ ^ the iamhoidic dactyl. In all these feet the arsis 
has two times, and the thesis one and a half. In consequence 
of the increased extension of the thesis and the diminished 
intensity of the arsis, the irrational trochee and iamb approach 
the anapaestic and dactylic rhythm. 

If in the dactyl and anapaest the arsis is shortened by a 

half time, — ^ ^ , ^ ^ — , we obtain what is called the light 
or irrational dactyl and anapaest. What the arsis has lost 
by extension, is to be made up by an increased intensity, in 
order to restore the equilibrium between arsis and thesis. 
Thus the rhythm of irrational dactyles and anapaests ap- 
proaches the trochaic and iambic rhythm. 

With regard to the application of irrational feet, the follow- 
ing is to be observed. 

The last foot of a trochaic and the first of mi iambic series 
may become irrational. The middle time, therefore, can take 
place in a trochaic dipody only in the second foot, and in an 
iambic in the first : 

2* 



18 IRRATIONALITY, MIDDLE TIME. 



In the first trochaic dipody the first fiDot is in arsi, the se- 
cond in thesi. The arsis of the first foot receives from the 
principal arsis a part of its force, and is, therefore, stronger 
than the arsis of the second foot. This intensity would be 
impaired, if the thesis were increased by the irrational mea- 
sure ; but it is heightened when the second arsis is weakened 
by the increase of its thesis. In the iambic dipody the se- 
cond iamb is in arsi, and its arsis has, therefore, the strong- 
est intensity, which would be weakened by strengthening its 
thesis ; it is increased by the arsis' of the first iamb being 
thrown into the back ground by the increase of its thesis. 
Hence follows the law that in trochaic series, which are to be 
measured by dipodies, the middle time occurs in the even 
places (in sedibus paribus : 2, 4, 6, 8), in iambic series in 
the odd places (in sedibus imparibus : 1, 3, 5, 7). 

In the trochaic tripody : 

a t 

a t 

the first two feet are in arsi, the third in thesi. The first foot 
has the strongest arsis, the second a weaker one, because with 
reference to the first it is in thesi, and the third the weak- 
est, with reference to which the second is in arsi, and in or- 
der to mark this weaker arsis the middle time may be ad- 
mitted in the thesis. The same is the case in trochaic series, 
to be measured by feet, which consist of more than three 
feet. 

In the iambic tripody : 

t a 



the first foot is in thesi with reference to the following two ; 
hence it requires the feeblest arsis, and its thesis may, there- 
fore, admit the middle time. The second foot is with refe- 
rence to the first in arsi, and its arsis is, therefore, not to be 
weakened, and still less the arsis of the third foot, with refe- 
rence to which the second is in thesi. In a similar manner 
in longer iambic series, which are to be measured by feet, 
the middle time is admissible in the first foot only. 



IRRATIONALITY, MIDDLE TIME. 19 

The irrational time, unless it be admitted at the commence- 
ment or end of a series only, enables us to distinguish the 
rhythms composed by dipodies or metres from those compos- 
ed of feet. On the other hand we cannot infer from the ab- 
sence of the irrational time that the rhythm should be mea- 
sured by feet and not by dipodies. -^ ^-^isa trochaic 

dimeter ; -^-^ -'^ -^ may be a dimeter as well as a tetrapo- 
dy ; some other criteria are to be found in order to decide for 
the one or the other. For the poet may, according to his 
pleasure, admit or not admit the irrational time. By the ad- 
mission of the middle time, trochaic and iambic series be- 
come slower. 

The dramatic poets of the Romans, previous to Augustus, 
admitted the middle time in every foot of iambic and trochaic 
series, with this exception, that they preserved pure the last 
thesis of every series, after which one more arsis followed. 

The iambic anacrusis of one syllable may, according to the 
analogy of the iambic thesis, become irrational : 



and equally so the monosyllabic concluding thesis of each 
series, according to the analogy of the last short of a trochaic 
series : 



It is also, with certain limitations, allowed to put in tro- 
chaic series in all places, the irrational dactyl for the trochee, 
and in iambic series, the irrational anapaest for the iamb. 

Irrational dactyles are distinguished from rational by a 
quicker movement, similar to trochees. They unite readily 
with trochees, and are then called logaoedic dactyls. The two 
shorts of an irrational dactyl are but rarely contracted. 

The irrational light or cyclic anapaests resemble, by their 
quicker movement the iambs, with which they are therefore 
frequently united, and are called logaoedic anapaests. The 
shorts of such anapaests are never contracted. 

There is a singular license which sometimes occurs in the 
final dactyl of a dactylic series, a long being used in the place 

of the second short -^^---^_v.^ ^ That such a time 

cannot be irrational is apparent from the following remarks : 



20 MOVEMENT, RESOLUTION, CONTRACTION. 

1 ) according to what has been said above, irrationality in 
dactyls takes place in the arsis only ; 2) by the same right, 
the first short of the first anapaest in anapaestic series, which 
are inverted dactylic series, and according to the same analo- 
gy the first short of the anacrusis of two times might be irra- 
tional, which, however, is not the case ; 3) as in iambic and 
trochaic series the irrational time may occur at the com- 
mencement or end of each dipody, so the same ought to take 
place in dactylic series at the end of each foot, which like- 
wise is not the case. We see, therefore, that the admission 
of the long in the final dactyl is nothing but a license, which 
as such requires no explanation ; moreover it is not very fre- 
quent. 



CHAPTER V. 



Movement^ Resolution of Longs, Contraction of Shorts. 

By movement [aycoyri, ductus) we understand the absolute 
duration which is given to the parts of time. Rhythmical 
series can be delivered in different movements. The con- 
tents determine the delivery. Indications of the movement 
lie partly in the rhythm, partly in the metre. In general the 
equal kind requires a slower, the double a quicker movement. 
Series which are to be measured by dipodies should be deliv- 
ered more slowly than those measured hy feet. 

In metre resolved longs indicate greater quickness ; con- 
tracted shorts a slower movement. 

With regard to resolution and contraction the following 
rules are to be observed : Every long of two times can he re-- 
solved into two sJiorts An irrational long, therefore, of one 
short and an half is incapable of resolution. The older Ro- 
man poets make an exception in this respect, by sometimes 
resolving even an irrational long. 

In the dactyl the long is not resolved, with the exception, 
in lyric poets, of a few proper names. The dignity and com- 
posure of the dactyl would suffer by the rapidity of four 

shorts, - ^ - ^ or the violence of an anapaestic form, ^ ^ - . For 
the same reason in anapaests of certain kinds the long of the 



ADAPTATION OF RHYTHM AND METRE. 31 

arsis is not resolved ; the dramatic poets, however, allow 

themselves the resolutions, - - - ^ ^ w v ^ ^ 

In a similar manner the cretic receives by means of the 

resolution of the first long, a more lively impulse ^ ^^"- (Pae- 
on quartus), by the resolution of the second arsis a comic fall 

_ w w V. (Paeon primus), and by the resolution of both, the high- 

est degree of rapidity, ^ - - - - . So in other rhythms. 

The contraction of two shorts into one long is allowed only 
when the sJiorts belong to one relation of intensity and exten- 
sion, because otherwise the rhythm would be destroyed, it 
being impossible to mark in one and the same syllable the 
end of one and the commencement of another relation. Thus 
it is allowed to contract 

a t 

at at 

into -' - , but not into ^ - ^ ; in the same manner, 

a t 

a t 

into - ^ , but not into ^ - ; and 

t a 



into ^ -' , but not into • 



t a 



CHAPTER VI. 

The mode in which the Ancients adapted Rhythm and Metre 
to Words, 

The words are the material of the poetic work of art, in 
which rhythm, as the form, is to become perceptible. With 
the exception of some small words, which in the connection 



22 ADAPTATION OF RHYTHM AND METRE. 

of speech are either subordinate as an anacrusis to a follow- 
ing arsis (atona), or follow as a thesis a preceding arsis, (en- 
cliticae), every word has its own natural rhythm which is 
made known by its accentuation. That is to say, the ac- 
cented syllable stands in arsi, the toneless in thesi. Each 
syllable, also, of a word, has its definite metre, its quantity, 
which depends sometimes on the vowel and sometimes on the 
consonant that follows the vowel. The doctrine of word- 
rhythm, or the doctrine of accents, and the doctrine of word- 
metre or the doctrine of quantity or prosody, is presumed to 
be known from the grammar. 

The word-rhythm, being the metrical rhythm, is given to 
the poet with the word itself. The rhythm of verse or the 
rhythm of art, he forms for himself, and adapts the words to 
it. Now either the verse-rhythm may be brought into har- 
mony with the word-rhythm, so that an arsis of the verse- 
rhythm falls upon the arsis of the word-rhythm, that is on an 
accented syllable, and thesis in like manner upon thesis, or 
both rhythms go along independently beside each other. The 
former, as the more natural and easy, is found in the rhyth- 
mical compositions of almost all nations of modern times. 
This harmony of both rhythmical systems is even necessary 
in languages, where, as in German and English, the quantity 
of syllables for the most part depends on the accent. A more 
artistical management of the verse-rhythm, induced the 
Greeks to neglect the coincidence of the two systems. The 
mode in which the Greeks adapt the words to the verse- 
rhythm, is as follows. The natural rhythm of the words they 
leave entirely out of view ; on the other hand, the relation of 
extension in the word-rhythm they bring into harmony with 
the relation of extension in the verse-rhythm. Where the 
metre requires a long, they place a long syllable, or accord- 
ing to preceding conditions, two shorts ; where a short, a 
short syllable. Two shorts can, in the cases above specified, 
be represented by a long syllable. A middle time of an irra- 
tional trochee or iamb, may be marked by a long or short 
syllable at pleasure ; a middle time of an irrational dactyl or 
anapaest, only by a long syllable. 

The poets, especially the Epic, allowed themselves many 
licenses in prosody ; particularly proper names, and those 
words for which others could not be substituted, must have 
made claim to a greater indulgence. (Comp. Matthiae's Gr. 
Gr. § 7—11). 



ADAPTATION OF RHYTHM AND METRE. 23 

The word-accent is not destroyed by the accent of the 
verse-rhythm. But the mode by which the Greeks rendered 
the former audible along with the latter we cannot settle with 
certainty. 

In the Latin language, the verse-rhythm depended origi- 
nally upon the word-rhythm. The Romans afterwards adopt- 
ed the doctrine of quantity from the Greeks, and so gave to 
their language the power of departing from the word-accent 
in versification. But they could not wholly withdraw them- 
selves from the dominion of accent until the Augustan age. 
In the earlier poets, especially in Plautus and Terence, the 
influence of accent is not to be mistaken. 

Of the skill with which individual poets availed themselves 
of rhythm for poetical delineations, examples will be given in 
the second part. It was not however rhythm only which served 
this purpose, but the element of melody in speech, the sound 
of single tones, syllables and words. Under this head we 
reckon alliteration, annominaiion, rhyme and assonance. 
Used moderately and without forcing, these are often of no 
small effect ; for example, when Homer paints the rending of 
the sails by the tempest, Odyss. IX. 71. 

tar (a ds acpiv 

or Lucretius the sound of drums, cymbals and horns, 11. 619. 

Tympana tenia tenant palmeis et cymbala circum 
Concava, raucisonoque minantur cornua cantu } 

and in like manner Virgil, the braying of trumpets, Aen. IX. 
503. 

At tuba terribilem sonitum procul aere canoro ; 
or Ovid the croaking of the frogs. Met. VI. 376. 

Quamvis sint sub aqua, sub aqua malediijere tentant. 

Plautus is especially fond of alliteration and annomination. 
In Ennius, this poetical painting sometimes degenerated into 
conceit; e. g. 

At Tite, tute, Tati, tibi tanta, tyranne, tullsti. 
Multarum veterum legum divumque hominumque. 

The ancients were not acquainted with the use of rhyme 
and assonance, as we find them in modern poets. Where 



24 ADAPTATION OF RHYTHM AND METRE. 

rhymed verses or hemistichs are found, the rhyme for the 
most part is accidental ; e. g. Aesch. Pr. 866, 867. 

Krelvai ovvsvpov, all' dTtaix^lvvd-rjaezai 
rvc6fxT]v ' dvoiv ds '&drsQOv ^ovli^astat, 
Hor. Ep. I. 12, 25. 

Ne tamen ignores, quo sit Romana loco res. 
But perhaps Virg. Ec. VIII. 80, is not wholly without design; 

Limus ut hie durescit, et haec ut cera liquescit, 

and the w^ell known lines, quoted in the Life of Virgil ; 

Hos ego versiculos feci, tulit alter honores. 
Sic vos non vobis fertis aratra boves. 
Sic vos non vobis vellera fertis oves. 
Sic vos non vobis nidificatis aves. 
Sic vos non vobis mellificatis apes. 

The accumulation of words of like termination has often a 
decided effect, as Hom. II. XXIII. 116. 

Uolld d' dvavra, Katavta, TzaQavrd te, doxf^id t tjld^ov. 

Such verbal rhymes frequently produce a comic effect ; e. g. 
Aristoph. Nub. 709 sqq. 

^ATiollviJii deilaiog ' in rov CMiiTzodog 
Jdxvovai [/ i^8Q7tovteg oi KoQivd^ioi, 
Kai rag nlevQag daQddnrovaiv, 
Kal TTjv \pv]^r^v l-amvovaiv, 
Kai rovg oQ^Eig i^slxovaiv, 
Kal rov mcoxrov diOQvrrovaiv^ 
Kai i^' duolovGiv. 
Pax. 339 sqq. 

Kai ^odrs xa^ yEldr, iq — 
/li] ydq i^sarai rod"' viuv 
nieiv, fA8V8iv, >tiv8iv, xad^evdsiv, 
'Eg TzavriyvQEig '&ecf3QsTv, 
'Earidaiyai^ xorra^i^aiv, 

'lov lov :<£XQayevai, 



SERIES, STOP, PAUSE. 



25 



Plaut. Amphit. V. I. 10. 

Strepitus, crepitus, sonitus, tonitrus, ut sublto, ut propere, 
ut vallde tonuit. 

The rhymed Latin verses, called Leonine, are an inven- 
tion of a later period. 



CHAPTER VII. 



Series, Stop, Pause, Acatalexis, Catalexis, Syllaha anceps, 

A SIMPLE rhythmical series comprises, according to Chap. 
III., a number of like metres or feet, which stand to one an- 
other in the relation of arsis and thesis. Series are separated 
from one another by the cessation of the voice. Such a ces- 
sation is called a stoj). The stop is not absolutely necessary. 
Series may follow one another without the intervention of a 
stop. A stop is not proper in the course of a series. 

It is not in itself fixed how many feet or metres belong to 
a series, but if the series is to be perceptible by the sense, it 
should be limited to a moderate number, commonly not ex- 
ceeding six, A series, the number of whose feet is once for 
all times determined, cannot be either lengthened or shorten- 
ed without ceasing to be the same series. But in rhythm, as 
in music, one or more times may be passed over in silence, 
which are, however, to be taken into account in counting 
the measure. Whenever this takes place, the voice must 
stop, and this stopping is called s, pause. The pause differs 
in this respect from the stop, that the former is counted in 
the time, and is, therefore, an essential part of the rhythm ; 
but the latter lies without the time, and does not belong to 
the rhythm. In the course of a series a pause is not allowed. 
Moreover there cannot be a stop in the middle of a word, be^ 
cause thereby the unity of the word would be destroyed ; 
hence the law : where there is a stop or a pause, there must 
he the end of a word. 

Rhythms apparently incomplete arise from pauses, because 

they seem to want one or more times ; and since pauses can 

occur at the end of a rhythm only, and are, therefore, the 

sign of the close (clausula, y.arulri^ig), such series, apparent- 

3 



26 SERIES, STOP, PAUSE, ACATALEXIS, 

ly incomplete, are called (wd^fjiol xaralrjxnxoi, ordines cata- 
lectici, catalectic series; and the reverse, complete acatalectic 
series, Qvd'fxoi axazahjKioi, ordines catalecti. 

In designating the catalexes, not the wanting, but the re- 
maining syllables of the last foot are considered. Thus a 
dactylic series, the end of which is shortened by one syllable : 
-^"-"'"--- is called a catalectic series in disyllabum, and 
one that is shortened by two syllables : _'-^-^v--^ a cata- 
lectic series in syllaham, Acatalectic series are, therefore, 
those the number of whose syllables has not been diminished. 

— / — / — / 
The following iambic series ^--^-^----^-^^ is, therefore, 
to be considered acatalectic, although it is necessary to ob- 
serve a pause of one time. 

The brachycatalectic series, so called {Qvd-ixot ^Qajyxa- 
raXriKTOi, ordines brachycatalecti), in which the pause of an 
entire foot is to be observed, are an invention of grammarians 
who imagined that all trochaic, iambic, and anapaestic se- 
ries must be measured only by dipodies. They considered, 
for instance, -'----- a dimeter trochaicus brachycatalectus, 
while the series is in fact a tripodia acatalecta as the second 
trochee, which is always rational, shows. 

The grammarians have called those which have one or 
several times too many, hypercatalectic series {Qvd^jAOi vneQ- 
y.aTaXrjxrot, ordines hypercatalecti). Such series, apparent- 
ly too long, have arisen from the circumstance that the ana- 






crusis was prefixed to the rhythm ; --------^ is, there- 
fore, not an hypercatalectic iambic dimeter, but a trochaic 
dimeter with the anacrusis ; or that different series of a like 

kind were united ; -"-", -----, is not a dimeter trochai- 
cus hypercatalectus, but a trochaic monometer joined to a tro- 
chaic catalectic tripody. 

The catalexis serves to mark the close of a rhythm. When 
rhythms want a suitable close, it is effected by the omission 
of one or more times. But rhythmical series, which of them- 
selves have a close, receive, generally, the catalexis only, 
when the series is to be connected with another, and the 
close to be done away with. 

It is preferred to close the series more forcibly with the 
arsis ; the catalexis is, therefore, common in those rhythms 
which, if complete, commence with the arsis and close with 



CATALEXIS, SYLLABA ANCEPS. 27 

the thesis ; it is more rare in those which commence with 
the thesis and terminate in the arsis. 

Troclialc series end with the thesis ; the catalexis (in syl- 
labam) is, therefore, common with them. The catalexis is 
more rare in iomhic series, because they end with the arsis. 
The dactyls are altogether without a close, because they 
close with two times in thesi ; they occur, therefore, rarely 
acatalectic. The catalectic dactylic rhythm ends either with 
the short, catalecticus in disyllabum, or with the long, cata- 
lecticus in syllabam. The former close, because it termi- 
nates in a thesis, and is on that account less forcible, is called 
feminine, the latter masculine- Anapaests are generally aca- 
talectic, because they close with the arsis. The catalexis in 
disyllabum does not occur, because the rhythm would then 
be destitute of a close ; the catalexis in syllabam resembles 
that in disyllabum of the dactyl. 

The cretic ends mostly acatalectic ; the catalexis in disyl- 

labum -^ — ^ occurs, though rarely; the catalexis in sylla- 
bam, - ^ — ■' usually transforms itself into a trochaic rhythm, 

- - - - . In the choriamb the acatalexis is most common ; 
the catalexis in trisyllabum, -'^^ — ' ^^ is not usual on ac- 
count of the absence of a close ; the catalexis in disyllabum, 

__v.w — V occurs, although rarely; the catalexis in syllabam, 
/ / / — 

- " ^ — transforms itself into a dactylic rhythm, - - ^ - - . In 
the ionic a majore, the catalexis in disyllabum alone is used : 

// // // /"^ 
— "' ^^ — ^- — ; in the ionic a minore, the catalexis 



in trisyllabum : ^^ — -^ — ^^-. 

Where at the close of a series a stop, or, with the catalexis, 
a pause is made, there it is allowed to put a short for a long, 
in which case, as the voice can stop, a pause equivalent to 
the wanting time is observed : 



On the other hand, in verses which consist of united series, 
the long at the end of a series which is not the concluding 
series of the verse, cannot be changed into a short, with the 
exception of the asynartete verses, of which hereafter. 



28 COMBINATION, VERSE, HIATUS. 

According to Chap. IV, every monosyllabic closing thesis 
may, according to the analogy of the opening thesis or ana- 
crusis, be considered irrational, and the short may be ex- 
changed for a long. This liberty is used in the feminine ca- 
talectic terminations of dactylic, anapaestic, cretic, and cho- 
riambic rhythms. The transmutation of a short into a long 
is allowed not only at the end of the closing series in a verse 
consisting of several united series, but also at the end of each 
series, even in the middle of a word. 

Thus the last syllable of every unconnected series is unde- 
termined ; a long may be put for a short, as well as a short 
for a long. 

The final long syllable for which, according to what has 
been said above, a short may be put, is called syllaha anceps, 
(jvXXa^irj ddidq)OQog. The mark is _^ . Where a syllaba 
anceps can take place, the long is not allowed to be resolved 
into two shorts, because it might then appear as if the two 
shorts stood for a long. 

The syllaba anceps is not to be confounded with the mid- 
dle time. A middle-timed short is longer by a half time than 
a rational short, and a middle-timed long is shorter by a half 
time, than a rational long ; hence where a short stands for a 
middle-timed thesis, a long which then is z= 1^ times, may 
be put. The middle-time takes place at the commencement 
and end of every series, even the united series ; the anceps 
at the end of the closing series only. It is not necessary that 
the middle-time should be the end of a word ; the anceps can 
occur at the end of a word only. 



CHAPTER VIII. 

Combination of Series, Definition of Verse, Hiatus, 

Several series may be united together and formed into a 
whole, and they may be either of a like kind, for example 

three iambic monometers ------------ (iambic tri- 
meter) ; or dissimilar, for example a trochaic monometer 

with a dactylic logaoedic series, ----------- (Sapphic 

verse). 



COMBINATION, VERSE, HIATUS. 29 

The principal requisite of beautiful rhythm we have stated 
to be the constant interchange of arsis and thesis ; hence, 
if series are combined, when the one ends with the thesis, 
the other must begin with arsis, and the reverse. But if, 
by the combination, arsis and arsis, or thesis and thesis, come 
together, an arrhythmy is the consequence, even though 
the series themselves may have the highest metrical perfec- 
tion. The ancient grammarians called such measures ixitQa 
y.ar avriTtdd'Siav iJiixta ; yet, misled by false measurements, 
they reckoned many such, which are not so. 

The concurrence of two arses produces a strong arrhyth- 
my, and is therefore often used with great effect for the rep- 
resentation of passion, of sorrow, of despair, in general of 
every state in which the harmony of the soul is disturbed ; — 
for the imitation of discordant noises, and the like. The 
shortest form of such a composition consists of the antispast 

When two longs concur, there is not always, of necessity 
an arrhythmy. Often one long is in thesi : 



or even if both longs are in arsi, the thesis is often supplied 
by a pause falling between, as in the elegiac pentameter; 



If two theses come together, then also the variety of the 
rhythm is interrupted ; and as in this case a feeble arrhythm} 
ensues, such a composition is of an undignified character, 
and therefore more rarely used. The fundamental type of 
such a composition is the choriambus - - | ^ -'. 

A series, we have above defined to be a combination of 
equal feet or metres, which stand to each other in the rela- 
tion of arsis and thesis. The limit in the series is not essen- 
tial ; we may conceive a series to be lengthened by one or 
more feet, Vv^ithout its ceasing on that account to be a series. 
The alternation of the feet may even be extended to infinity ; 
then indeed the series would cease to be limited, but it would 
nevertheless continue a series. In the definition of a verse, 
on the other hand, a definite limitation is the essential point, 
and the verse may consist of a single series or of different 
series. Hence it follows, that verse (frrZ/o^, versus) is a 
rhythm, limited in itself, deierminateJy separated from others. 
The Greek word 6ziiog, which indicates a limited extent in 
3* 



30 COMBINATION, VERSE, HIATUS. 

length, a line, is used metaphorically of a limited rhythm, a 
verse. 

At the end of the verse, there may always be a stop : hence 
at the end of the verse the anceps is unconditionally allowed. 
Further, the stop at the end of the verse, justifies the hiatus 
also {^aaiicodia), that is, the succession of two vowels, one 
of which closes one verse and the other begins the following. 
In the verse, the hiatus is only allowed under certain condi- 
tions, because the concurrence of two vowels of itself forces 
the voice to a small stop and thereby disturbs the rhythm. 

The poets have not all avoided the hiatus with equal care, 
partly because the sequence of certain vowels was less diffi- 
cult for the organs, as ti ovv, t/ av, xi liv, it elTzag, ri rjv, ri 
ov, TzeQc avdQa, and the like (Comp. Mt. Gr. Gr. § 42.) and 
therefore more readily admit of a union, and partly because 
the greater license of many species of poetry, was less partic- 
ular in this respect also. Further, the more cultivated a 
language or a dialect is, the more carefully it avoids all that 
is harsh and offensive ; hence in the Attic dialect, even in 
the prose writers, the hiatus was almost universally avoided ; 
in the other dialects, as in the Ionic, less so. Among the 
Romans, the hiatus was avoided by the poets of the Augus- 
tan age, and their imitators, more strictly than by the Greeks, 
while the elder poets, particulraly the dramatists, and Plautus 
most of all, were less careful in this matter. (Comp. C. Linge 
de hiatu in versibus Plautinis. Vratisl. 1817.) 

The most important cases in which the hiatus may occur 
are the following : 

1. When the hiatus, as a help to the prosody, serves to 
shorten a syllable, originally long. The necessity of short- 
ening the long syllable by rapid pronunciation causes the 
hiatus to be less observed. But this license, in the different 
rhythms, is subject to certain limitations, as will be more pre- 
cisely pointed out hereafter, when the several metres are 
treated of. 

3. The dactylic, and even the trochaic arsis, though 
more rarely, justified the hiatus, because where there is a 
greater extension by nature, as is the case in the arsis, an- 
other, which is produced by the gap between two vowels, can 
be easily concealed. 

3. Sometimes in the junction of the series united together 
the hiatus is admitted, because a stop can take place there 
more readily. 



COMBINATION, VERSE, HIATUS. 31 

4. Proper names allow a greater license also with regard 
to the hiatus. 

5. A strong interpunction, or in the dramatists the change 
of persons, causes the hiatus to be less remarked. 

6. Finally, the hiatus is permitted in interjections, which, 
when they are monosyllabic, would entirely disappear by 
elision, in exclamations, addresses and the like. 

The hiatus is often only apparent. This applies to the 
case when it occurs by elision, as r^v^i sdojxe; tua erat. 
The elision makes a rapid connection of the two words neces- 
sary and thereby removes the interruption which belongs to 
the hiatus. Finally, by the adoption of digamma in Homer, 
Hesiod, the later Epic poets, and in Pindar, a number of 
cases, where the hiatus occurs, disappear. (Comp. Mt. § 9.) 

Since, where a stop or pause takes place, a word must 
necessarily end, every verse also will be required to end 
with a word. The broken verses, so called, which end in 
the middle of a word, which the ancient grammarians, and 
with them, the modern metricians assume in the higher lyri- 
cal poetry of the Greeks, are nothing else than series, which 
with one or more following belong to one verse. The fact, 
that if the broken verses are rejected, uncommonly long 
verses often have to be adopted in the productions of the 
lyrical poets, especially Pindar, and in the chorusses of the 
tragedians, is no argument in favor of maintaining the bro- 
ken verses, against which a passage in Hephaestion expressly 
declares, ttciv (xstqov elg reXelav ntQarovrca )Jhv, Such 
verses always indicate a rapid and animated delivery, and 
therefore most frequently occur in poems of the Aeolian 
mood. But it is a matter of entire indifference whether such 
verses are written in one line or are divided according to 
their component parts. 

When, on the other hand, in the ordinary measures, as in 
the iambic trimeter, in the hexameter, in the elegiac dis- 
tich, a word runs into two verses, it is an intentional depar- 
ture from the law, for the purpose of producing some special 
effect. For, as the stop falls in the middle of the word, it 
thereby acquires an almost monstrous extent. But yet, as 
the gravity of the poetical thought is reflected in the strict 
observance of the form, humour on the contrary often purpose- 
ly transgresses the laws, in order, as it were, to jest at its own 
fetters ; so always a similar license is admissible only in 
poems of a less grave character. The monstrous, the huge, 



32 COMBINATION, VERSE, HIATUS. 

is painted by the sundering of the word, after the manner of 
a caricature. At the same time, it must be remarked that 
such a word, running into two verses, is generally compound- 
ed, and that the end of the verse falls in its juncture. Some 
examples may confirm what has been said. The comic poet 
Eupolis avails himself of this license, to describe jestingly a 
decree of monstrous length : 

^AlX ov'ii dvvaxov ianv ' ov yaQ aXXo tzqo- 
BovXev {jta ^aaTcil^ovat rrjg Ttolecog {xsya. 

Horace, when he wishes to give a comic importance to an 
oath : Sat. II. 2, 180. 

Praeterea, ne vos titillet gloria, jure- 
Jurando obstringam ambo. 

The same to indicate the extraordinary age of a man : Sat. 
11. 3, 117. 

Age, si et stramentis incubet unde- 
Octoginta annos natus. 

Sometimes a proper name, which otherwise would not fit in- 
to the verse, forces the poet to use this license, as Simonides 
in Hephaestion : 

'H [Aey 'A'&rivaloiai cpdog ytved^, TJnx l^Qiaro- 
rsiTcov "innaqyov xreTve xal Aqiiodiog * 
Or Nicomachus in Hephaestion : 

Ovrog dri cot xXetvog eg EkXada naaav ^TtolXo- 
/IcoQog, 
A careful poet is reluctant to close his verse with those 
words which belong, with respect to the signification to what 
follows, as the article, conjunction, preposition, interjection. 
Yet where this occurs, we must not assume a stop at the end 
of the verse, but pass on to the following without a pause. 
The same remark applies when an elision occurs between 
two verses. In Latin, where the syllable to be elided is writ- 
ten out, the verses become apparently too long, and are called 
versus hypermetri, e. g. Virg. Aen. IV. 558. 

Omnia Mercurio similis vocemque coloremque 
Et crines flavos et membra decora juventae. 
Besides the three external marks of the termination of the 
verse, which do not belong to the rhythm, namely the anceps, 



COMBINATION OF VERSES AND SERIES 33 

the hiatus, and the end of the word, there is yet another, 
which is contained in the rhythm ; that is to say, every verse 
is a whole, sometimes more perfect, sometimes more im- 
perfect. As such, it has a beginning (Qvd^ixog maQX^s), a 
primary rhythm, (numerus primarius) and a close (clausula), 
and thus must appear finished in itself. An acute perception 
will therefore, in most cases, be able to detect the verse, with- 
out these external marks, and to separate it from others. 
Where it cannot, the structure of the verse is imperfect. 
For all verses cannot have the same degree of perfection : 
sometimes the beginning, sometimes the end is defective. 
These imperfect verses generally are connected with other 
rhythms, and with them form a whole. 

The connection of the series, of which a verse consists, is 
sometimes more strict and sometimes more loose. In the 
former there is no pause at the juncture of the series ; hence 
neither the anceps nor the hiatus is allowed, and a word also 
need not end with the series ; in the latter, with the end of 
the series upon which another follows, the pause and there- 
fore the anceps and the hiatus may be placed. Verses in 
which the series are united in this way, are called asynartetCy 
crifpi davvdQTfjrot, versus asynarteti. 



CHAPTER IX. 



Of the Combination of Series and Verses into greater rJiyth" 
mical Masses. 

Single verses and series can be repeated or united with 
others. Hence arise the different kinds of composition, sys- 
tems {ovarrijjLara). 

The succession of one and the same verse is called a com- 
position, xaxd GTixov, composition hy the line. The character 
of this composition is uniformity and composure ; hence it is 
properly used in the epos, the dialogue of the drama (diver- 
bium), and in certain lower kinds of lyrical poetry, in which 
there is less of poetic elevation. The greater the compass of 
the poem is, the greater must be the variety of the measure of 
which the verse to be repeated by the line, is capable, in or- 
der not to weary by uniformity. Thus the heroic hexameter 
being capable of an infinite variety is best suited for the com- 



34 COMBINATION OF VERSES AND SERIES. 

prehensive epic, the iambic trimeter for the dialogue in the 
drama, while the phalaecean hendecasyllabus or the anacre- 
ontic verse is, on account of its uniformity, appropriate for 
shorter lyric poems only. 

A rhythmical mass which arises from the repetition of si- 
milar series, is called a avazyi^a i^ oiaoIojv, systematic compo- 
sition. There is commonly no stop between the single se- 
ries ; hence, with certain exceptions, the hiatus and anceps 
are not permitted in the middle of the system, and a word can 
run into two series. At the end of the system the stop takes 
place unconditionally, with all its consequences, the end of a 
word, the anceps, and the hiatus. The last series of the sys- 
tem, on account of the close, assumes commonly a catalectic 
form, or a particular rhythm is added as a conclusion. The 
proportionate shortness of a system marks it as the form of a 
single lyric thought. The simplicity which belongs to a sys- 
tem, on account of the similarity of its parts, would ill contrast 
with the variety of sentiment of the more elevated lyric poet- 
ry ; the latter does not, therefore, use it. The Ionic and Ae- 
olian lyric poets and the dramatists employ it with more pro- 
priety. With the latter it forms usually the transition from 
the dialogue to the melic part of the drama ; in general the 
system, as to its form, occupies a position between the compo- 
sition by the line and that by strophes. 

The shortest combination of different kinds of verses is the 
distich composition. The necessity of introducing a prin- 
cipal verse by another, or of letting another follow as a con- 
clusion, furnished the first occasion for this composition. 
Such an introductory verse is called ariy^og jtQOcodog, versus 
proocluSy and the concluding verse axiiog STZcpdog, versus epo- 
dus. The greater variations of the rhythms and the small 
extent of the rhythmical mass, which this kind of composition 
presents, render it suitable for expressing single lyrical senti- 
ments, chiefly of an elegiac {distichum elegiacum), jocose, sa- 
tirical or epigrammatic import. 

The asynartete verses stand between the verse and the 
composition by distichs. Here, too, a series is either pre- 
mised as proodus to a principal verse, or attached as epodus, 
so, however, that both parts are not closely connected, as se- 
ries which form a verse, nor on the other hand entirely sepa- 
rated like verses that form a distich. Hence the stop with 
its consequences sometimes takes place at the juncture of 
two series forminc^ such verses, sometimes it does not. This 



COMBINATION OF VERSES AND SERIES. 35 

uncertainty in its treatment renders the asynartete verse unfit 
for the higher lyric poetry. It was more used by writers of 
epodes. 

The combination of several verses into a rhythmical whole 
is called a strophe ((jTQoq)t], stropha). The verses are either 
like or different. To several, commonly three, like verses, an 
epodus is added as a conclusion, which sometimes, as in the 
Sapphic strophe, blends with the preceding verse into one. 
The number of verses which must belong to a strophe, is not 
fixed ; but they must all, by their character and relation, man- 
ifest themselves as parts of a whole. An aggregate of dif- 
ferent verses does not therefore make a strophe. A strophe 
can be repeated once or several times. When there are two 
strophes only, we may assume that the second corresponds to 
the first, and the second strophe is then called antistrophe 
[avxiarQocprj, antistropha). The greater variety of rhythms 
makes the strophe the form of lyric thoughts. But even here 
are manifold gradations from the expression of a single lyric 
feeling, the most suitable form of which are the so called Ae- 
olian strophes, generally consisting of four verses, to the sub- 
lime odes to gods, heroes and princes, in which the more art- 
ful and various structure of the Doric strophes harmonizes 
with the subject. 

As an epodus is joined as a conclusion, or a proodus as an 
introduction, to single verses, so in connection with two cor- 
responding strophes, another, differing from them, can follow 
as a conclusion, the epode {rj Inco^og sc. aroocprj), or precede 
as an introduction, j)roo/fe (// 7tQoc^d6g)^ox intervene as a mid- 
dle song, mesode {j {.teacodog). It is evident that this third 
strophe must always stand to the other two in a certain rela- 
tion which manifests itself even in the measure, and that, in 
general, three such strophes must form an ideal whole. We 
call this kind of composition, because certain dancing move- 
ments are connected with it, the cliorcd. It is peculiar to the 
higher lyric poetry, because the greater comprehensiveness 
and freedom of this form appears most appropriate for a lyric 
state of mind, which is not the effect of a momentary exter- 
nal impression, but the result of an inspiration deeply felt and 
proceeding from the heart. The Dorian lyric poets and the 
dramatists have in various ways and very artfully made seve- 
ral strophes to correspond with each other in the manner de- 
scribed above, partly in the antistrophic, partlv in the choral 
form, which was connected with certain dancing movements. 



36 SUBSTITUTION OF 

Moreover a number of different verses may succeed one 
another in such a manner that the same succession does not 
return. In the very great variety which is here permitted, 
the poet might easily incur the danger of losing sight of that 
unity which, notwithstanding the variety, should comprehend 
the whole. This freest rhythmical couiposition was most 
adapted for the unrestrained intoxicated enthusiast whom a 
god like Bacchus inflamed. It is, therefore, the form of di- 
thyrambs, paeans, and other wild songs. With this dithy- 
rambic composition (avazi^ixata anoXtlviitva) the highest 
grade of rhythmical form is attained, but at the same time the 
foundation is laid for deterioration, The perception of unity 
was lost ; artificial and ever varying forms became favorites, 
which soon degenerated into trifling, for the amusement not 
only of the ear, but of the eye also ; it is only necessary to 
call to mind the axes, altars, candlesticks and other figures 
of Alexandrian poets. 



CHAPTER X. 

Of the Substitution of one Rhythm for another. 

One rhythm cannot be substituted for another, because 
each has its peculiar character, and thereby produces an im- 
pression not to be produced by another rhythm. It is, there- 
fore, a peculiar phenomenon when, nevertheless, rhythms are 
interchanged with rhythms. But such an interchange is to 
be considered simply as a license which certain poets have 
allowed themselves. 

The substitution takes place in those classes of rhythms 
only which are composed of equal and double kinds, i. e. the 
choriamb, ionic a majore, and a minore. For these, rhythms 
have been substituted which are equal to them, as to the num- 
ber of times, but eurhythmic, as to their composition. 

Thus for the choriamb the iambic dipody has been put, 
whence it may be inferred that the trochaic dipody must stand 
for the two ionics : 



ONE RHYTHM FOR ANOTHER. 



37 



In the same manner the substitution of the trochaic dipody 
for the ionic a niinore, and of the iambic dipody for the cho- 
riamb follows, if the trochaic dipody is substituted for the 
ionic a majore : 



and in like manner the substitution of the iambic dipody for 
the choriamb, and of the trochaic for the ionic a majore, if 
the trochaic dipody is substituted for the ionic a minore : 



// / f // // 



It is not essential that in these substitutions the feet are 
sometimes preserved pure, sometimes not. This depends 
upon the more or less elegant treatment of the rhythm ; hence 
even two separate trochees have been used in the ionic a ma- 
jore, and even the hiatus allowed between the two. 

The occasion of the above substitutions is to be found in 
the arrhythmy of the feet, which it was desired thereby to sof- 
ten. For example, the weak coincidence of the theses, to- 
gether with the forcible concussion of the arsis in -' - - - 
- ^ ^ ~ -' ^ ^ - produced an unpleasant effect, and an effort 
was made, by the substitution of the iambic dipody for the 
one or the other foot, to render the verse more eurhythmic. 
The want of a suitable conclusion causes this substitution to 
occur most frequently in the last foot. 

In the dimeter ionicus a minore ^ - - - - ^ - ~ the last foot 



/ / / ~ 



frequently assumes the form of a trochaic dipody ^^ --- 

and then, in order to avoid the coming together of three arses, 
the second long of the first ionic has likewise been changed 

into a short : -w_^_v._v. This alteration has been called 
refroxtion of the rhythm (a^vayXoLGig)^ and such a verse re- 
fracted {dvaxX(6[A.svGg). 

Greater variety was introduced, by the substitution, into 
the rhythms, and on account of the difference of the forms, 
ayjiuara, which they could assume, they were called poly- 
schematist, qv-O^ijo} 7iolv(JX^[^dti(STOt. 

The real choriamb is distinguished, by the substitution of 
the iambic dipody, from the dimeter dactylicus catalecticus^ 
4 



38 CAESURA, DIAERESIS. 

in syllabatn. The choriamb, therefore, to which the iambic 
dipody corresponds, must not be considered dactylic ; but, on 
the other hand, the absence of the substitution does not prove 
the rhythm to be dactylic. 

The higher Dorian lyric poetry (Pindar) rejects this substi- 
tution as contrary to its dignity ; the tragic poets, however, 
use it, and in such a manner that different forms often cor- 
respond to each other in strophe and antistrophe. 

It is not a change of the rhythm, but of the measure, if the 
irrational time is put for the rational, or if a long is resolved 
into two shorts, or two shorts are contracted into one long. 



CHAPTER XT. 



Caesura, Diaeresis. 



The verse-rhythm is united to words, elements which are 
themselves rhythmical. The intensity of force manifests 
itself in the verse as arsis and thesis ; in the word, as more 
elevated and more depressed accent (acute, grave): the ex- 
tension in the verse as metre ; in the word as quantity. From 
a recurring succession of arses and theses, for which a cor- 
responding metre is substituted, arise rhythmical series; the 
smallest series, by the repetition of which, the larger are pro- 
duced, is the verse-foot. So also in the word-rhythm, the 
smallest rhythmical unit, is the word-foot ; and from the se- 
quence of word-feet, arise word-series. Verse we defined to 
be a limited whole consisting of one or more verse-series; to 
this, the sentence corresponds, which consists either of one 
or of several word-series (simple or complex sentence). To 
the composition by distichs, the period consisting of antece- 
dent and conclusion corresponds ; to the strophe, antistrophe 
and epode, the proposition, antithesis and conclusion. 

The question now arises whether the verse-rhythm wholly 
coincides with the word-rhythm ; that is, whether the arsis 
falls on the acute, the thesis on the grave, the long upon a 
long syllable, the short on a short syllable ; whether a simple 
series embraces a simple sentence, and a verse, according as 
it consists of one or several series, includes a simple or com- 
plex proposition ; whether, finally, in the distich, a period con- 



CAESURA, DIAERESIS. 39 

sisting of antecedent and conclusion, and in the strophe, an- 
tistrophe and epode, a period consisting of antecedent, anti- 
thesis and conclusion must be completed. 

We have however already remarked (c. 6.) that in the 
ancient languages the word-accent does not coincide with the 
verse-accent, by which the rhythm gains in life and flexibili- 
ty. But metre and quantity are the point of union, where 
verse-rhythm and word-rhythm meet, as otherwise an absolute 
contradiction between the two would take place; for, in 
general, the feet of the word-rhythm, and of the verse-rhythm, 
and therefore the rhythmical series and sentences, coincide 
as little as the accents. The interweaving of the two produ- 
ces variety and powder; the coincidence, uniformity and fee- 
bleness ; but not in all rhythms to a like extent. 

In rhythms of the unequal kind, which are lively and flex- 
ible in their character, the interweaving of the word-feet and 
verse-feet is suitably applied, because the liveliness is thereby 
heightened. In falling rhythms, which are in their nature 
relaxed, the contradiction between the two feet obliterates 
the feeble thesis termination ; the ending of the word, which 
usually takes place in the arsis, raises this and causes the 
thesis to be more lightly passed over. Hence, iambic, tro- 
chaic, and dactylic series delight in the interweaving of word- 
feet and verse-feet; the anapaestic however, less so, because 
the forcible termination upon the arsis, if it should fall with- 
in a w^ord, would not sound out so strongly. The same re- 
mark applies to the cretic, choriamb, and the rising ionic. 

These law^s, however, are not so strict but that they allow 
various exceptions, which when a specific purpose is attained 
by them, are by no means faulty. The efl'ort also to unite 
word-feet and verse-feet, ought not to be carried too far. 
Too great solicitude is as objectionable as too great negli- 
gence. With all the laws, which art prescribes to itself, 
freedom ought not to be destroyed ; for true art is that w^hich 
moves freely within the laws. 

With respect to verse-series and word-series, they can be 
interblended, or the ends of both coincide. 

From the coincidence and disagreement of verse-series 
and word-series springs the idea of the diaeresis and cae- 
sum {diafQBGig and toiai^,) abscission and incision. 

The coincidence of both feet, is called the foot-diaeresis, 
the coincidence of both series is the principal diaeresis, and 
the disagreement of the two feet, is the foot-caesura, so that 



40 CAESURA, DIAERESIS. 

the word-foot is divided by the verse-foot, hence the name ; 
and the disagreement of the tv^^o series, so that the verse- 
series ends before the w^ord-series, is the principal caesura. 

Every principal diaeresis and principal caesura is at the 
same time a foot-diaeresis and a foot-ceasura. In writing, 
the end of a word-series is usually distinguished by a punc- 
tuation mark ; hence the principal diaeresis and the princi- 
pal caesuras, fall in the punctuation, as 

J^Q'iere ^coxoXiKccg, McSaai q^ilat,, aQ)[sz' doiddg 



The verse has a principal caesura and a principal diaere- 
sis, and is accordingly divided into three series. 
The verse 

Integer vitae, scelerisque purus 



has a principal caesura, and therefore consists of two series. 
Feet of three syllables, as the dactyle, are capable of a two- 
fold foot caesura, either after the long - | " "' , which is called 
the masculine, because it is in the arsis ; or after the first 
short - ^ I "" , Tiard rov tQoxotTov, which, as it occurs in the 
thesis, is less strong, and therefore is called the feminine. 

Caesura and diaeresis, have but one aim, namely the mark- 
ing of the terminations of the series ; the poet, therefore, will 
be able to make use of them at his pleasure. But certain 
rhythms are more inclined to the diaeresis, others more to the 
caesura. In general those rhythms which delight in foot 
caesuras, will have principal caesuras; rhythms which are 
inclined to foot diaereses, will have principal diaereses. Tro- 
chaic, iambic and dactylic series therefore have mostly the 
caesura; anapaestic, choriambic, cretic and ionic, mostly the 
diaeresis ; but the former do not entirely exclude the diaere- 
sis, nor the latter the caesura. Thus, for example, the tro- 
chaic catalectic tetrameter in the lyric poets has the caesura 
mostly after the arsis of the fifth foot ; 






in the dramatists on the contrary the diaeresis occurs after 
the dimeter ; 



/ — / — / —• / 



CAESURA, DIAERESIS. 41 

It is clear from what has thus far been said, that the cae- 
sura and the diaeresis belong to the essence neither of the 
verse-rhythm nor of the word-rhythm, but are only percepti- 
ble when the two are united ; hence it follows that it is an 
error to stop in the caesura with the voice ; but in the diaere- 
sis a short stop is more readily allowed, because a series ends 
in it. This also is the reason that, when a pause must be 
made in the midst of a verse, a diaeresis also occurs, as in the 
elegiac pentameter : 



Nubila si fuerint nullus amicus erit. 

The question now arises, how the diaeresis and the caesura 
are marked by the voice. The beginning both of a verse- 
series and of a word-series commonly has a greater elevation 
or intensity of the voice, than the end. The diaeresis is 
therefore marked by a corresponding falling of the voice : 
the caesura, on the contrary, by a corresponding rising. The 
fact that a syllable short by itself, can be used for a long, if 
it stands in the caesura, is to be explained by this increased 
intensity. This lengthening, however, takes place only in 
dactylic rhythms, and then for the most part only in the epic 
poets. 

We have seen above that the coincidence of verse-series 
and word-series is purposely neglected in order to produce 
certain effects ; the same is the case with verse-periods and 
periods in language. A word in a period of language that 
runs into a following verse produces the same impression as 
the syllable that stands in the caesura, as Hom. II. I. 51, 52. 

Avraq Inur avtoi(ji ^sXog i)^e7T8VK8g icpmg, 
BdlX ' del ds TtvQal x. r. 1, 

The same also applies to strophes, which do not always 
close with grammatical propositions. See Pind. Olymp. VI. 
49, 50. Pyth. I. 32, 33. 

We have thus treated, in this First Part, the doctrine of the 
definition, of the general laws of rhythm, and of its repre- 
sentation to the senses by the means of speech. The consid- 
eration of the method by which the rhythm embodied in 
words was adapted to song and music lies beyond the limits 
of metrical science, and forms a part of the theory of the music 
of the ancients. 

4* 



PART II. 

THE APPLICATION OF THE LAWS OF RHYTHM TO 
POETRY BY THE GREEKS AND ROMANS. 



INTRODUCTION. 

Brief Survey of the History of Greek and Roman Poetry, 
with particular reference to the Metrical Form, 

Greek poetry is superior to that of all other nations both 
because it developed itself from the earliest and rudest begin- 
nings to the highest degrees of perfection naturally and inde- 
pendent of foreign influence, and we are able, notwithstand- 
ing the loss of many works, to follow exactly the course of its 
development, and because it shows itself in all its parts so 
harmoniously unfolded that it justly has been and will be a 
model to all nations for all time. The harmony reveals itself 
principally in the choice of the most suitable form to each 
subject, and so by a reversed process the perfection of the 
material, the really spiritual element of poetry can be traced 
from the perfect form. Since in a national poetry, as the 
Grecian was, the national character is necessarily reflected, 
and since, notwithstanding the unity of the Greek mind, still 
each tribe had its peculiarities, and maintained them in life 
as in poetry, and stamped them upon the material as upon 
the form, it is evident that the metrical science is not only to 
be considered, as is usually done, as an auxiliary science for 
the better understanding of the ancient poets, or as a direc- 
tion how to imitate them in poetic attempts, but that as a sys- 
tem of artistical form of the poetic thought, it has a higher 
historical value. We look, therefore, upon the metrical sci- 
ence, as a production of antiquity which like any other of its 
productions, bears on itself the peculiar stamp of its origin. 
But as without a knowledge of the form the poetic material 
cannot exercise its full effect upon our mind, and can, there- 



HISTORICAL VIEW OF GREEK AND ROMAN METRES. 43 

fore, be understood in part only, so on the other hand, the 
knowledge of the form without that of the material, is some- 
thing empty, meaningless, a shell without a kernel. 

Hence it follows, that the knowledge of ancient poetry is 
a necessary preliminary to the study of metrical science. But 
that which w^e shall present here, is not so much a history of 
ancient poetry, completely carried out in all its parts, as a 
brief outline, in which the most important points are to be 
set forth w^ith special reference to the metrical form. 

The origin of Greek poetry is enveloped in obscurity. This 
much may be inferred, by putting together the scattered no- 
tices, that it proceeded from the religious feeling, as with al- 
most every nation. Hymns to gods and heroes were the first 
poetic attempts. Since, however, there never existed among 
the Greeks a distinct order of priesthood, to whom wisdom 
and art belonged as a monopoly, this temple-poetry was at 
the same time popular, it stepped forth from the temple into 
life, and became national poetry, after the Greeks had, in the 
Trojan war, for the first time fought together. If previously 
the myths of single tribes and families, which singers or sages 
doidoiy aoQpoi, related, interested him only whom they imme- 
diately concerned ; the representation of that event, in which 
each tribe had taken part, had general interest, and became, 
therefore, the foundation of all succeeding poetry among each 
tribe. Even if Homer and his school were not the first poets 
and singers, they are still to be considered the fathers of 
Greek poetry, for this very reason, because, by the descrip- 
tion of that event which had united the Greeks for the first 
time, they had generally aw^akened and cherished the sense 
of art. They had borrowed the form from that temple-poet- 
ry ; for the heroic hexameter is older than Homer ; it is the 
sacred verse, in which from the earliest times men have spo- 
ken to the gods in prayer, and the gods to men by oracles. 

The homeric songs, notwithstanding the attraction which 
they possessed for all Greeks, did not belie their native coun- 
try, Ionia. The lonians were, among all the Grecian tribes, 
most inclined to a gladsome, cheerful enjoyment of life, whom 
therefore the entertaining character of the epos pleased more 
than the reflection of lyric poetry or the seriousness of tragedy. 

The poems of Hesiod (900?), (Theogony, Works and 
Days, and the Shield of Hercules), approached nearer to the 
temple-songs than the Homeric or later cyclic epics. The 
people received from the lips of experienced priests instruc 



44 HISTORICAL VIEW OF 

tion on theorigin of the gods, heroes and men, rules concern 
ing household affairs, agriculture and the like. 

These epic-didactic poems form the transition from the 
epos to the gnomic and elegiac poetry. The form of govern- 
ment had been altered in most Grecian states after the Trojan 
war, and particularly after the great migration of the Dorians. 
Monarchies had become republics. Thus in the course of 
time the interest in the myths was lost which for the most 
part exalted old reigning families which were either extinct, 
or had been expelled by the people. The political life, on 
the other hand, roused the mind of the people to reflections 
on country, laws, war, and other such subjects. This does 
not remain without influence upon poetry. Callinus (700), 
Tyrtaeus (680), Solon (590), Theognis (550 ?) inspire love of 
country, exhort to valor and virtue, and censure the faults of 
the citizens. Others, like Mimnermus, (630), sing in true Ioni- 
an manner the joys and instability of life, and in a kindly and 
melancholy mood invite to enjoyment. Simonides of Ceos 
(500), who lived for the most part at the courts of kings, im- 
parts to the elegy, instead of the political spirit, a more lyric 
melancholy character, which it has ever since retained. 

The form of the elegiac poetry originated from the epic. 
The elegy was not, like the epos, a continuous narration, but 
divided itself into single thoughts and sentences, yvM^jiai, 
which, however, are united by a common tendency. The 
hexameter was shortened into the elegiac pentameter (pro- 
perly two trimetri dactylici catalectici in syllabam), and thus 
always a hexameter and a pentameter formed a whole, dis- 
tichon elegiacum, long enough for the expression of a single 
thought. At the same time it gave the first idea of the stro- 
phe, according to which the later lyric strophes were formed. 
The dialect used in the elegy, as in the epos, was the Ionian ; 
the musical accompaniment consisted of wind instruments 
alone. The flute-nomos is peculiar to the elegy. 

Where poetry once exists, the poetic aspect even of jest 
and satire is soon discovered. Satirical poems are even as- 
cribed to Homer (Margites, Batrachomyomachia). But it is 
under a free government alone that jest can find utterance, 
and thus Archilochus (700), likewise belonging to the Ionic 
stock, is the first political satirist of note. He chastises vice 
and vulgarity often under cover of a fable, often, too, not 
sparing the person. Simonides of Amorgos (500) is known 
to us by his satire upon women. Hipponax (540) was, 



GREEK AND ROMAN METRE. 45 

throughout antiquity, notorious for his bitter sarcasms. The 
usual and original form of this jesting kind of lyric poetry 
was the iamh (trimeter iambicus acatalectus), whence the po- 
ets of this kind are called also lamhograpliers* 

The iamb is probably not much later than the hexameter ; 
at least it is formed in imitation of it ; for the former was 
originally, like the latter, measured by feet, and not by dipo- 
dies, as the generally pure iambs of the older iambographers 
prove. A contrast was thus formed between the iambic and 
dactylic rhythms. For as the language of every day life in- 
clines more to the iambic rhythm, so the iambic verse was 
the form for subjects taken from the present time, and later 
for the dialogue ; the dactylic rhythm, on the other hand, be- 
ing more quiet and dignified, was better adapted for the re- 
presentation of the grander, more elevated past. 

The iambographers, however, did not exclusively use the 
iamb of six feet. They made use partly of longer iambic 
verses, as tetrameters, partly of the trochaic tetrameter, rela- 
ted to the latter, partly combined, after the manner of the ele- 
giac distich, two verses, so that a shorter verse preceded or 
followed a longer one. The verses themselves were partly 
simple, partly compounded of several series, sometimes asy- 
nartete. Archilochus is named as the inventor of the epodic 
composition. Hipponax provided iambic and trochaic verses 
(usually the trimeter iambicus acatalectus and the tetrameter 
trochaicus catalecticus), by the reversion of the last foot, 
with a peculiar close, which, by its striking arrhythmy, pro- 
duced a comical effect (Hipponactean or limping verses, sca- 
zons or choliambs). 

More harmless than these satirical poems were the mirthful 
songs of joy, wine, and love, which, from the most distin- 
guished master in this kind, Anacreon (520), were called 
Anacreontic. The dialect of these poems was the Ionian; the 
form adapted to the softness of the subject, either the dimeter 
ionicus a minore, which in its unbroken form approaches the 
fall of the iambic rhythm ; hence its corruption to the hemi- 
amb or the glyconic, choriamb, ionic, and similar measures ; 
partly by the line, partly by systems. 

The Ionian lyric poetry is followed by the Aeolian, partak- 
ing of the passionateness and vehemence, the ndS^og, of the 
Aeolians. Sensual love, degenerating into mania, enthusi- 
asm for freedom and country, are the material of this kind of 
poetry. Alcaeus (600) and Sappho (612) are universally ac- 



46 HISTORICAL VIEW OF 

knowledged by antiquity as its perfecters. The musical ac- 
companiment are string-instruments, especially the cithara ; 
the dialect Aeolian ; the metrical form, more varied than in 
the previously mentioned kinds. They either repeat single 
verses, generally compounded, especially the Aeolian, consist- 
ing of irrational dactyls with a preceding basis, dactylic-lo- 
gaoedic and choriambic, or make use of systems, especially 
the choriambic, glyconic, and ionic ; this form attains, final- 
ly, the highest degree of perfection in the Aeolian strophes, so 
called, which generally consist of four verses, the last of which 
forms the close (Sapphic, Alcaic, Asclepiadean strophe). 

The last step in the progress of lyric poetry to perfection, 
was taken in the Dorian lyric poetry. The Dorian tribe 
were distinguished above all other Greek tribes by their man- 
ly seriousness and deep thought, and their poetry bears the 
same stamp. Passionless composure, and equability, freedom 
of the mind, and perfect harmony of the understanding and 
imagination, in one word, that which the Greeks call ijd^og, 
rules in it. Alcman (660), Stesichorus (550), and Ibycus 
(550), were the first to cultivate this style ; but the grand and 
lofty Pindar (d. 442), the philosophical, reflecting Simonides, 
and the cheerful, graceful Bacchylides (450), brought it to 
perfection. The glory of the gods (hymns, paeans, dithy- 
rambs, prosodies, parthenics, hyporchemes) and of the victors 
in the sacred contests (epinicia, encomia, scolia) was the 
usual material of this lyric poetry. The form adapts itself to 
the substance ; the dialect is Doric, modified according to the 
language of the epos. 

In the place of the simple Aeolian strophe, the more com- 
plicated Doric was formed, which, because it was at the same 
time destined for the dance, was extended to the strophe, an- 
tistrophe and epode. The musical accompaniment was adapt- 
ed to the greater metrical perfection and the movement of the 
dance. The mood in which a Doric poem is composed, de- 
termines its subordinate character. We distinguish in the re- 
mains of Dorian lyric poetry chiefly three moods : the Doric, 
Lydian, and Aeolian ; and according to these three subordi- 
nate styles, all of which were distinguished from one another 
by subject, language, rhythm, singing, musical accompani- 
ment and dance. The Doric was serious and manly, the Ly- 
dian sweet and effeminate, the Aeolian bold and impassioned. 

A species of the Dorian lyric is the dithyramhlc poetry, the 
inventor of which is supposed to be Avion (620), and which 



GREEK AND ROMAN METRE. 47 

was afterwards cultivated in Athens so as to form an inde- 
pendent style. A bacchanal enthusiasm is the prominent 
characteristic of this kind, and the form corresponds to it. 
The metre, especially after Timothe7is{AQ(}), consisted of ever 
varying rhythms, full of bold measures and rapid transitions : 
the greatest variety, in which unity is lost sight of, so that the 
effects of excessive art are evident. The music, too, in the 
Phrygian mood, with wind-instruments, and the dance per- 
formed by cyclic chorusses, had a wild, overpowering char- 
acter. 

A peculiar species of poetry developed itself, in Athens, 
from the lyric poetry, and indeed directly from the dithyram- 
bic, the drama, Dionysiac festivals were celebrated in Ath- 
ens, as in other cities, by songs to Dionysos. Between the 
single songs, one of the performers presented himself, who 
related and represented mimetically the exploits of the god. 
Of these lyric and epic elements, Thespis (590) is said to have 
foraied the first dramas, and exhibited them extemporaneous- 
ly. However imperfect they may have been, still they found 
imitators. The material was extended by giving up the ex- 
clusive relation to Bacchus, and treating, in its stead, of other 
myths of a less joyous character. 

Thus tragedy separated itself from the Satyrdrama. In the 
former, man appears in a struggle with fate, with the gods, 
and with his own passions. It is elevating to our feelings, 
that he ventures upon the contest with these powers, that his 
liberty, conscious of its own power, opposes necessity, that 
he falls like a man, when the inevitable destiny smites him. 
The Satyrdrama was intended as an afterpiece, to cheer the 
spectator put by the tragedy in a sad and serious mood. It 
moved in the same mythical world, and frequently was not 
without a relation to the tragedies just performed (tetralogy) ; 
but it placed its characters in circumstances less sad, made 
them extricate themselves from difficulties by some cunning 
trick, and especially entertained by the jokes of the chorus of 
Satyrs. 

As the dramatic material is divided into two principal 
parts, the epic part or dialogue, and the lyric or meiic, so is 
the form. The iambic trimeter, rendered more weighty and 
dignified by the admission of the irrational measure, is the 
usual form of the dialogue ; in the Satyrdrama it moves more 
lightly in consequence of resolutions. The poets sometimes 
substitute the catalectic trochaic tetrameter. The anapaes- 



48 HISTORICAL VIEW OF 

tic systems form the transition from the dialogue to the melic 
part. The melic part itself is in its metrical, orchestral, and 
musical form Doric. It consists of larger rhythmical masses, 
which assume sometimes a strophic, sometimes a choral, some- 
times a dithyrambic form, and upon this the dance and mu- 
sical accompaniment depended. The dialect of the drama 
is the Attic ; still the melic part especially is furnished with 
many epic and Doric forms. 

Aeschylus (d. 456), Sophocles (d. 406), and Euripides 
(d. 406), are considered the greatest masters of tragedy. In 
Aeschylus the lyric element is still predominant ; hence the 
chorus occupies a great portion of his plays ; he is elevated, 
forcible, bold, and of a rich imagination. In Sophocles, the 
most beautiful harmony between the lyric and epic prevails ; 
he is noble, delicate, religious ; his language unaffected and 
dignified ; plan and execution of the plot excellent. In him 
the drama attained the highest perfection. In Euripides, the 
lyric element, the chorus, is no longer an essential part of the 
drama ; on the contrary, it is frequently without any relation 
to the action. His tragedies are calculated for momentary 
effect and for exciting emotion. The influence of the soph- 
ists is particularly perceptible in the numerous moral maxims 
and rhetorical artifices which he makes his characters to ex- 
hibit. His language is for the most part natural and beau- 
tiful, sometimes affected. In the form, too, he is less correct 
than his two predecessors. 

Together with tragedy, comedy was formed as the con- 
trast to the other, from the same lyric and epic elements. 
Tragedy represents a mythical world ; it is, therefore, seri- 
ous and elevated. Comedy utters its opinion of the contem- 
porary world, of the constitution of the state, the life of the 
citizens, the national faith, of poetry, philosophy ; it is, 
therefore, caustic and satirical, especially at a time of uni- 
versal degeneracy. The principal conditions, on which 
alone this species can flourish and operate favorably, are po- 
litical liberty, which allows to speak publicly of the defects of 
the state, and a man who has a correct conception of the 
state of things, perceives the real defects, and knows the 
means to counteract them, who possesses a rich measure of 
wit, humor and imagination, in order to gain the hearing of 
the people, even for bitter truths, and who, finally, is coura- 
geous enough to direct public attention to the defects. All 
this is found united in Aristophanes (431) and his time. Be- 



GREEK AND ROMAN METRES. 49 

sides him, Cratinus, Eupolis, Pherecrates^ and Plato are 
mentioned as comic poets. 

The form of this species resembles, as to its essence, that 
of tragedy, with the exception, that it allows more liberties. 
The iambic trimeter is rendered lighter by frequent resolutions 
and the admission of the anapaest. The same applies to the 
trochaic tetrameter. Peculiar to comedy are the catalectic 
iambic tetrameter, the catalectic anapaestic tetrameter (ver- 
sus Aristophaneus), and several dactylic, glyconic, and cho- 
riambic measures (metrum Eupolideum, Cratineum, Platoni- 
cum, choriambicumpolyschematistum, Priapeum and others), 
which often occurred, particularly in the parabasis. The 
choiusses have more varying, more rapid, and less dignified- 
measures than in tragedy. The avGzruiara i^ ofxotcov are- 
particular favorites. When, at a later period, the free con- 
stitution of Athens had passed away (410), and the impover- 
ished state could no longer maintain the coraie chorus, the 
middle comedy, so called, sprung from the old comedy, which 
was almost entirely destitute of a political character. It rail- 
ed at the faults of individuals under feigned names and cir- 
cumstances. Of this kind w^e have a single piece of Aristo- 
phanes, the Plutus. Of the comedies of Aiitipharies and 
Alexis, belonging to this kind, we have fragments only. 

Here, in fact, closes the history of the development of 
Greek poetry ; what the Greeks did later is imitation, partly 
of earlier master-pieces, partly of foreign poetry. The de- 
velopment of the form too, is herewith terminated. For ma- 
terials not yet employed, the existing metrical forms were 
used, which, indeed, were peculiarly modified, and frequent- 
ly in such a manner as to degenerate into tasteless conceits 
and tricks. 

The causes of the sudden exhaustion of the creative power 
of the Greeks are to be found partly in external circumstan- 
ces brought on by Philip and Alexander, which destroyed the 
political life of the Greeks, together with which the peculiar 
national life and poetry died away. A distinct order of scho- 
lars is forming, especially in Alexandria, who alone know and 
imitate the earlier poetry ; the people have forgotten it, and 
remain strangers even to the imitations. Besides this, the 
more frequent intercourse with foreigners, the transplanting 
of intellectual activity from the old classic into a foreign soil, 
at Alexandria, Pergamus, and Rome, the constantly increas- 
ing decline of morals, the impoverishment of the people, the 



50 HISTORICAL VIEW OF 

unquiet, warlike times operated unfavorably. But in part 
the cause of this decay lies in the nature of poetry itself. Po- 
etry had developed itself step by step until it arrived at the 
highest perfection ; it was now in danger of degenerating 
through excess of refinement, of which the later Dithyramb 
and Euripides exhibit no indistinct traces. This sudden 
dying out of original Greek poetry, therefore, is not a prema- 
ture death which we ought to lament, but a natural one, such 
as every literature must experience after having attained a 
certain completeness ; it is rather an advantage of Greek 
poetry that it has not out-lived itself like the Roman. 

Almost all kinds of poetry were imitated by those who 
were familiar with ancient Greek Literature. They were 
distinguished by copiousness of learning, beauty of language, 
and melody of rhythms. Among the epic writers the most 
famous is Apollonius of Rhodes ( 196), who described the 
Argon autic Expedition. Didactic poems were especial favor- 
ites. An attempt was made to unite science, which just at this 
period was greatly enlarged, with poetry. The distinguished 
writers in this species, are Aratus (275) in his Phaenomena 
and Diosemeia, and Nicander (160), author of the Theriaca 
and Alexipharmaca. In lyric poetry imitation extended espe- 
cially over the lighter Ionic and Aeolic species : the hymn, the 
elegy, the epigram, the Anacreontic song, Scolia. The most 
distinguished lyric poets are CallimacJius (272) whom the Ro- 
mans frequently resorted to, and Cleanthes (260) known by 
his hymn to Jupiter. A large portion of such lyrical attempts 
from this and a later period have been handed down to us in 
the Anthology,, of which the first collector was Meleager 
(100). Among the imitators of the drama, the best known 
are Lycophron, (274) by his Cassandra, Sositheus (275) by 
his Satyric dramas, and Rinthon (275) by his Parodies. 

A peculiar phenomenon of the Alexandrian age is Mysti- 
cism which originated in oriental ideas. It appeared poeti- 
cally through the imitation of those old Mystagogues, Or- 
pheus, Musaeus, Linus, Olenus, and others, and the use that 
was made of them : hence the Theogonies, Hymns, Epics, 
didactic and gnomic poems, which appeared under their names 
in this and a later period. 

The longer the time from the classical period, the rarer 
and poorer imitations became, but strictly speaking they did 
not wholly cease, until Constantinople, the last refuge of the 
ancient Greek Language and Literature had fallen (1453). 



GREEK AND ROMAN METRES. 51 

Those of the later period who deserve to be mentioned as 
didactic poets are Oppiamis (200, A. D.) author of the Cyne- 
getica and Halieutica, Dionysius Periegetes (200) author of 
a description of the earth ; as Epic poets Quintus Smyrnaeus 
(450?) on account of his naqalundiiEva 'OfA.)]QCpy Musaeus 
(430?) on account of the epic of Hero and Leander, iVo7?/zMs 
(490?) on account of his Dionysiaca, Tryphiodorus (500), 
on account of his 'DJov aXcoaig, and Coluthus (500), on ac- 
count of the '^ Rape of Helen/^ Michael Psellos (860) was 
the first who set aside the ancient form. He is the father of 
the Political Verses, so called, in which the syllables only 
are counted, without regard to their prosodiacal value. 

A peculiar kind of popular poetry, which the Greeks often 
imitated, flourished in Sicily. The beginning of this, as well 
as of Italian poetry in general, v/as of a more dramatic char- 
acter : alternate songs of shepherds in the country, in which 
they sometimes renewed the recollections of former times, 
and represented mimetically the life and deeds of departed 
heroes and shepherds (Polyphemus, Daphnis, Comatas) and 
sometimes in turn jested with each other, and playfully allu- 
ded to known circumstances in their life. Thus, this poetry 
also had a serious side as it delineated former times, and a 
sportive one, when it touched upon the present. The natu- 
ral scenes, sometimes magnificent and sometimes enchanting, 
which Sicily presented, could not have failed to waken early 
a perception of nature among the shepherds; hence that 
poetical painting is peculiar to them, which explains also the 
tendency to naturalness and to the faithful copying of reality, 
so that herein lies the characteristic difference between this 
and the poetry of Greece. 

The inhabitants of Sicily made no attempt to perpetuate 
their poetical achievements by writing ; they are therefore only 
known to us from the imitations of the Greeks. Epicltarmus 
(486) was one of the first, who, having his attention called 
to the popular poetry of Sicily, attempted to reproduce it in 
Greek. He chiefly employed dramatically, the Sicilian and 
other similar myths, which were characterized by liveliness 
and sentiment. Hence these bucolic dramas were called 
comedies, although they differed widely from the Attic come- 
dy. The reference to public life, as well as to the present 
in general, which was predominant in the latter, was wanting 
in the former, although they did not entirely exclude ridicule 
and satire. The pieces of Epicharraus appear not to have 



52 HISTORICAL VIEW OF 

had a chorus. The dialect was the Sicilian Doric : the me- 
trical form, was that of the dialogue part of the Greek dramas. 
He appears to have been the inventor of the anapaestic 
tetrameter catalectic, or the verse called the Aristophanic. 

Sop/iron (430) made use of the materials taken from real 
life for the construction of a peculiar species of drama, which, 
on account of the imitation of existing reality was called fiT^og 
mime. His principal merit consisted in the acute and deli- 
cate observation and lively representation of the subject. 
There appears to have been no peculiar mode of treatment in 
the mimes, but scenes from common life rather were delin- 
eated. Moreover no poetical form was adapted to this wholly 
prosaic matter ; Sophron therefore wrote his mimes in Sicilian 
Doric prose. 

When at a later period, the last traces of a peculiar buco- 
lic life had disappeared in Sicily, and this species had ceased 
to be the popular poetry, later poets attempted to reproduce 
the past in a more epic manner, and thus arose the bucolic 
Epos or Idyll. Theocritus (280) is the most distinguished 
master of this species. He is a felicitous imitator of Epi- 
charmus in the treatment of mythical materials, and of So- 
phron in mimetic representation ; he is a poet of delicate 
feelings, and a skillful observer. The form of his poems is 
epic, the heroic hexameter, but peculiarly modified by a 
fixed division {rerQaTtodia ^ovxo)ax7]) probably after the model 
of Stesichorus, who used the hexameter in his^ bucolic poems. 
To this bucolic poetry, the alternate song {aafAa djAoi^aiov) 
and the refrain, or burden (versus intercalaris) belong. Aes- 
chylus probably learned the last in Sicily, and used it in his 
Agamemnon and Eumenides. Next to Theocritus, Bion 
(280) and Moschus (280) are distinguished as bucolic poets. 

This species of poetry, which copied common life, was not 
without its influence upon the New Comedy in Athens. 
Comedy had by degrees lost all reference to real life. In the 
old comedy, persons were not spared ; in the middle, attacks 
on real persons were allowed only under feigned names ; in 
the new, however, there was no political character at all. It 
approached the Mime by a faithful representation of men of 
the most opposite conditions, and by a subtile delineation of 
character, but differed from it inasmuch as this delineation 
of character and mimic representation was not its single aim, 
but both were interwoven in an interesting adventure, which 
was carried through the whole (fabula), furnishing a variety 



GREEK AND ROMAN METRES. 53 

of ridiculous situations. This species of comedy had no 
chorus, and therefore its metrical form was mostly confined 
to those metres which the earlier dramatists were accustomed 
to employ in the dialogues. They appear to have marked 
in a striking manner, the various states, from the greatest 
composure to the most violent passions, by the different iam- 
bic, trochaic, anapaestic and cretic measures. The masters 
of this species, of whom only fragments and Roman imitations 
have been preserved, are Alexis (380), Menancler (320), Phi- 
lemon (300), and Diphilus (300). 

It was chiefly these dramatic and mimetic kinds, which 
procured for Greek poetry a reception among the Romans. 
For the peculiar popular poetry, which is more ancient than 
the imitation of the Greeks, bore the general Italian charac- 
ter, and hence, though ruder than the Sicilian, in kind it 
was not unlike it. It is true the Romans also had a temple 
poetry, which however was in the highest degree inartificial, 
and appears at the same time never to have been the poetry 
of the people properly so called ; it was rather the property of 
particular colleges of priests, which had their origin in Etru- 
ria. This poetry was contiimed for a long time but became 
more and more unintelligible to the people and even to the 
priests themselves. The original form of these sacred songs 
was the Saturnine verse, in which Saturn and Faunus com- 
municated their oracles, as among the Greeks the gods used 
hexameters for this purpose. It seems that in this measure, 
verbal accents prevailed, but the quantity of syllables could 
not have been observed, because it was not developed until 
later, by the imitation of the Greeks. 

The popular poetry which existed at the same time with 
this temple poetry was wholly rude and artless. The amoe- 
baean and dialogue form is the predominant one, because, 
properly speaking, it sprang only from social conversation. 
The material is for the most part taken from the present ; 
hence a mixture of merry tales, novelties of the town, descrip- 
tions, ridicule of well known persons or circumstances, pleas- 
antries, wit, sage rules of life, but all without a definite plan, 
and this motley mixture was well expressed by the word 
Satura, Satire. The wanton jests of those who were assem- 
bled to celebrate a marriage or some other joyous festival, 
formed a subordinate species, called the Fescennine. The 
songs, which according to Cicero, (Tusc. I. 2.) the ancient 
Romans sang alternately to the flute, in which they cele- 
5* 



54 HISTORICAL VIEW OF 

brated the deeds of the gods and of their ancestors, during 
public entertainments, which were appointed in honor of the 
^ods, were of a more serious kind, but wholly destitute of 
poetical merit, and in no respect whatever to be compared 
wdth the Epos of the Greeks. 

When learned Greeks began to translate Greek poets into 
Latin, and made Greek poetry accessible to the multitude, 
the Italian national poetry for the first time appeared in con« 
trast with the Greek. The drama, especially the new come- 
dy, formed the point of union. Livius Andronicus (240) 
translated Greek pieces and brought them upon the stage, 
and On, Naevius (230) and Q. Ennius (200) followed his 
example. The people were more pleased with the comedy 
because it was more easily understood and more resembled 
the prevailing Italian species. The rude multitude had less 
perception of tragedy. If anything attracted them, it was 
the external splendor with which it was represented ; more- 
over, the mythic world, and the peculiar Greek life in which 
tragedy moved might well have been too foreign to give them 
much pleasure, although examples are not wanting, in which 
national materials were used, but the rarity of such phenom- 
ena creates the suspicion, that in spite of this the people 
were incapable of being inspired with any great delight in 
tragedy. 

With the great favor which comedy enjoyed, it could not 
fail to happen that the Roman Satire also, which, to distin- 
guish it from the later is called the dramatic, should undergo 
a transformation, and especially by making a fable or plot 
constitute a part of it. But that the genuine Italian form 
might not be at variance with the material, if that had been 
taken from the Greek comedies, the Atellan fables, a spe- 
cies of play which had long existed in Campania, in the 
neighborhood of Rome, were selected. The Atellanae, were 
mimes in which Campanian peasants played the principal 
characters. The plan of the fable must have been extreme- 
ly simple, since those pieces, as well as the Satire, were only 
improvised ; jests and the faithful delineation of reality always 
continued to be the principal part of the entertainment. 
Thus we find an opposition between the foreign and the 
national elements; but the more familiar the Romans be- 
came with the Greeks, the more they sought to Hellenize 
what was their own, and the more unimportant the distinc- 
tion became. Thus the Atellanae acquired in later times a 



GREEK AND ROMAN METRES. 55 

Greek form through Poniponins, like that of the Greek come- 
dy, and finally blended with the mime, to which the Romans 
had likewise given the Greek form. Another species similar 
to these, was the fahula togata, a kind of comedy which 
delineated genuine Roman manners and characters, while in 
the fahula palliata those of the Greeks were accustomed to 
be represented. The form of all these species was that of 
the new Greek Comedy : iambic and trochaic measures, 
anapaests, cretics, etc. One peculiarity is the Bacchic me- 
tre, which with the Romans took the place of the dochmius, 
which they seem to have used but little if at all. All these 
more vehement measures, were delivered in a musical recita- 
tive, and these portions w^ere therefore called cantica : the 
more grave trochaic and iambic measures, as the metres of 
dialogue, were declaimed without a musical accompaniment. 
In the treatment of the verse, the Romans were much freer 
than the Greeks, manifestly because the verse always retain- 
ed a certain degree of dependence on accent. 

The most distinguished masters of these kinds of the 
drama are the following : in tragedy, Naevius, Ennius, M. 
Pacuvius (150), L, Attius (140); in the fabula palliata, 
Livius Andronicus, Naevius, 31. Accius Plautus (184) ; 
Caecilius Statins (170), P, Terentius yl/er(105); in the 
fabula togata, C, Afranius (134) : in the Atellanae, L. Pom- 
ponius (94), Q. Novius (90) ; in the Mime, P. Syrus, and 
Decimus Laherius (40). 

The Satire, the genuine Roman mime, was thrown into 
the background by these kinds of drama. By degrees it 
wholly lost its dramatic character and approached the epic- 
didactic form. Satires were now written instead of being 
improvised, as they had before been. The satires of Ennius 
and Pacuvius however, appear not yet to have renounced 
wholly the dramatic form ; Caius Lucilius (130) was the first 
to give them that epic-didactic form which they ever after 
retained. We have only fragments of his works. 

The epic and lyric poems, in which for the most part both 
form and matter were borrowed from the Greeks, were still 
more foreign to the nation than the above mentioned kinds 
of drama. Livius Andronicus introduced the Epos in Rome 
by his translation of the Odyssey in the Saturnine measure. 
Naevius wrote the second Punic war in the same measure, 
and Ennius reduced the ancient Roman History to hexam- 
eters. 



56 HISTORICAL VIEW OF 

The didactic poem was the most favorite kind. In this 
also Ennius made the first attempt : the most celebrated, 
however, is the poem of Titus Lucretius Carus (60) de rerum 
natara. The hexameter which these poets used, differed 
essentially by its more careless structure from the later art- 
fully-wrought hexameter of the epic poets in the Augustan 
age. 

Among the species of Greek Lyric poetry, the Ionic and 
Aeolian found the most ready reception among the Romans, 
partly on account of the subject matter being easier and more 
intelligible, which must have rendered it also better adapted 
to imitation, partly on account of the simpler form, to which 
the less cultivated language of the Romans more easily con- 
formed itself. The most famous lyric poet before the Augus- 
tan age is C Valerius Catullus (48). His models are Sappho,. 
Anacreon, Archilochus and Hipponax; the metrical form, 
therefore, of his poems, is exceedingly varied ; he uses the 
hexameter in the small epic picture called the Epithalamium 
of Peleus and Thetis ; the elegiac distich in the elegies and 
epigrams ; in the smaller lyrical poems by turns iambic mea- 
sures (especially the trimeter claudus), the hendecasyllabus, 
so called, the Priapean verse, the Galliamb, Sapphic and Gly* 
conian Strophes. 

The imitation of the Greeks flourished most brilliantly 
among the Romans in the age of Augustus. Men of distin- 
guished intellect, full of learning and taste, studied Greek 
models, and sought to reproduce them in accordance with 
the character of the Latin language, not only with reference 
to the matter, but particularly in the form. The epic writers 
generally followed the Alexandrian poets, manifestly the best 
models of a rational and at the same time a learned imitation 
of classical antiquity. The most distinguished epic poets of 
this time are P. Virgilius Maro (d. 19, B. C.) by his Aeneid, 
and Puhlius Ovidius Naso (d. 17, A. D.) by his Metamorpho- 
ses. Through them the Latin hexameter attained its high- 
est perfection and beauty. In didactic poetry also, they both 
stand at the head of their contemporaries. Virgil's poem on 
agriculture, and Ovid's Art of Love, and Fasti, are the best 
that we possess of this kind from all antiquity. The idyllic 
Epos also found in Virgil a felicitous cultivator, although 
he remains far behind his model Theocritus. 

The Elegy is an especial favorite, particularly after the 
model of Callimachus. Albius Tibullus (d. 18, B.C.) is 



GREEK AND ROMAN METRES. 57 

distinguished for delicacy, warmth and depth ; Sext. AureL 
Propertius, (d. 15, B. C.) for learning and taste; Ovid for 
ease and wantonness. 

The greatest master of the Roman lyric poetry, is Q. Ho- 
ratius Flaccus (d. 8, A. C.) With all his dependence upon 
the Greeks, he is still himself a creator and inventor. This 
is most clearly manifested in the metrical form, to which he 
found the means of giving the character of vigor and dignity 
in keeping with the Latin language by extremely simple mo- 
difications. His models are the Aeolian lyric poets, Sappho 
and Alcaeus, and, in the Epodes especially, Archilochus. 

With his varied abilities, Horace embraced also the last 
remains of a genuine Roman poetry, which still existed in 
the Satire, and brought it to its highest perfection. His Sat- 
ires contain a treasure of genuine wit, of delicate observations 
on the condition of affairs at the time, on literature and man- 
ners, as well as of practical philosophy and rules of life of 
universal application. The Epistles, an original species of 
poetry unknown to the Greeks, resemble communications to 
friends upon the most various subjects, full of pleasantry and 
wit, in a light poetic garb. The form of both species is the 
hexameter, whose purposely negligent structure is suitable to 
the matter, which never goes beyond real life, and is calcu- 
lated to make us forget, as much as possible, art and imita- 
tion of the foreign. 

The drama also, in this period, was brought nearer and 
nearer to the Greek, by more careful imitation of Greek mo- 
dels. But what it gained in art, it seems to have lost in ori- 
ginality. As tragic poets, Lucius Varus (B. C. 18), and 
Ovid, are distinguished, the one for his Thyestes, and the 
other for his Medea. Comedy found but few cultivators, evi- 
dently because pantomime, for which Augustus had a decid- 
ed predilection, drove it from the stage. 

After the death of Augustus, the traces of excessive cul- 
ture, and consequently of the decline of poetry, become 
visible. The form is predominant, — to that all care is devo- 
ted. When the monarchical constitution had driven elo- 
quence from public life, rhetoric took refuge with poetry, and 
exercised there a mischievous influence. Instead of true po- 
etic inspiration, we often find nothing but declamatory bom- 
bast. The purity of language, as in general all scientific ef- 
fort, disappears more and more after the time of Hadrian ; 
even imitators become more rare. The matter of poetry be- 



58 GREEK AND ROMAN METRES. 

comes continually more insignificant, the form always more 
affected, until at last it degenerates into the rhymed leonine 
verses. 

As Epic poets, we have to name M. Annaeus Lucanus (d. 
65), on account of his Pharosalia, C Valerius Flaccus (70), 
on account of his Argonautica, P. Papinius Statins (96), on 
account of his Thebais and Achilleis, Caius Silius Italicus 
(d. 100), on account of his Punica, and Claudius Claudianus 
(395). Calpurnius Serranus [^^), is an imitator of Virgil in 
the Idyllic Epos. As didactic poets, Q. Serenus Samoni- 
cus (212), and Nemesianus (284) are to be mentioned. 

The Aesopic Fable was handled by T. Phaedrus Libertus, 
(30) in the time of Tiberius, in iambs which are formed after 
the model of the ancient Comedians. 

Satire flourished more than all other kinds, because the 
times afforded it ample materials. Aulus Persius Flaccus 
(d. 64), Decimus Junius Juvenalis (90), T, Petronius Arbi- 
ter (60), are distinguished, — the last on account of his half 
prose half poetic Satiricon, and Lucius Annaeus Seneca 
(d. 65) on account of his Satire upon the deified Claudius. 

The achievements in the lyrical species are very small. 
The hendecasyllabus is the most favorite form. M, Valerias 
Martialis (100) is distinguished as the author of epigrams. 
He is the father of the witty epigram ; the form is the elegiac 
distich, the iamb, the trimeter claudus, the hendecasyllabus, 
the Sotadic verse, and epodic measures. To the lyric poets 
also belong Statius on account of his Sylvae, Decimus 
Magnus Ausonius (380), Claudia?!, etc. 

The achievements in the drama are more meager still. 
The ten pieces of Seneca which we possess are exercises in 
style, and hence were nofv^er brought out. The ancient 
Atellanae again make their appearance under Tiberius, and 
speak with considerable freedom against the faults of that 
age. Indeed, this genuine Italian species of drama was 
never entirely extinct, but continued down to modern times 
under the form of the comedia dell' arte. 



TROCHAIC RHYTHMS. 59 

SECTION I. 
SIMPLE RHYTHMS. 



CHAPTER I. 

RHYTHMS, THE FUNDAMENTAL FOOT OF WHICH IS TRIPLETIMED ; 
THE DOUBLE OR TROCHAIC-IAMBIC CLASS. 

A. Falling, Trochaic Rhythms. 
The ground-foot of the trochaic rhythm is tripletimed and 

falling : ^ ^ ^ . The principal arsis rests on the first two shorts, 
the former of which has the stronger intensity (P. L ch. 3. 
p. 13). The first and second short alone can be contracted 
(P. I. ch. 5. p. 21). 

The trochaic rhythm, belonging to the double kind, is less 
dignified than the dactylic. It is quicker and lighter in con- 
sequence of the more forcible intensity of the arsis, and the 
more limited extension of the thesis (P. I. ch. 3. p. 13), and 
the rhythm being falling, has less force than the iamb, though 
this has the same times (P. I. ch. 1. p. 8). The rhythm 
may, however, by various modifications become both more 
forcible and grave, and also feebler and lighter. 

The double kind delights in the union of pairs of feet into 
dipodies (P. I. ch. 3. p. 15), our f time. For reasons stated 
above the short of the second trochee of the dipody alone can 

/ — 
be converted into the irrational measure :----. In a tro- 
chaic series which is to be measured by dipodies, the freer 
measure is allowed in the even places (in sedibus paribus) 
alone. This rhythm, by dipodic measurement, and by a fre- 
quent use of the middle time, approaches to the dactylic and 
hence becomes graver and more dignified ; by foot-measure- 
ment, and frequent resolution of the trochee into the tribrach it 
becomes more light and moveable. Thus we distinguish liglit 
trochees which are to be measured by feet and on account of 
their rapid movement, are particularly suited to the Aeolian 
mood, and grave, which proceed by dipodies, and on account 
of their greater dignity are frequently used in poems of the 
Doric mood (Hermann's Dorii Epitriti). 



60 



TROCHAIC RHYTHMS. 



The poets made use of the irrational dactyl with limitations 
which will be hereafter more particularly described. The 
older Roman dramatists use the liberties, permitted in the 
even places, in the odd places too, (P. L ch. 4. p. 19 ): 



• — ^ — acat. 
— ^ cat. 



The proceleusmatic was probably not used ; where it does 
occur, it should be concealed by the pronunciation. 

Trochaic rhythms delight in the foot caesuras, because 
they gain force thereby (P. I. ch. 11. p. 40), as Pind. Isthm. 
III. 35 : 

TeaaaQcov dvdQOJV iQrjfxcoGsv ^dxatQav eaziav. 

Longer trochaic series, if used by the line, have a principal 
diaeresis in the middle. 

The catalexis of trochaic verses is in syllabam only. 

The termination in arsi closes the verse forcibly ; the cat- 
alexis is, therefore, very usual (P. I. ch. 7. p. 26). 

The shortening of a long by the hiatus occurs in resolved 
trochees alone, and even then seldom, in lyric passages of 
tragedies, as Eur. Iph. Taur. 197 : 



06vog inl q)6vcpy dxscc r dxeaiv, 
and in lyric poets, as Pind. Olymp. II, 83 : 



^ovg rs 7ial8^ udld^ioTia, noXkd fiot in dyxwvog coxsa 

The hiatus in the trochaic arsis is very rare, and besides 
used in lyric poets alone, as Pind. Olymp. III. 30 : 



Avrid^ei6 'OQd^coGia syQaipev Iqav ; 
compare also Olymp. XIII. 35. 



TROCHAIC RHYTHMS. 6l 

The following are the single trochaic rhythms which are 
in use : 

( 1 ) The Monopody. — Monopodia trochaica : 



This smallest trochaic rhythm is sometimes found before 
other lon2:er ones as an introduction, and is then called a basis 

X - 

{^daig). We shall always mark the basis with x, --. 

X X 

This trochaic basis contains the following forms : - ^ , 

x^ x^ 

^ - - , - - - , all of which are in use. Besides this basis an 

-X XX ^X .^X 

iambic one occurs : ^-("-, — ,^^^,---). They are some- 
times interchanged. Pindar, however, uses always one form 
without interchange. With him the trochaic basis has usual- 
ly the form of a trochee or spondee, more rarely of a tribrach, 
and once only as an anapaest. Nem. VI. 68. 



The dramatists are less restrained in the use of the basis, 
being allowed to interchange the trochaic and iambic forms, 
as Soph. Philoct. 1125, 1148. 

X / 

^ — - ^ — Strophe 

X 

_ - _ ^. w — Antistr. 

Feka fiov ysQt TiaXXcov. 

XcoQog ovQSGi^MTag, 

The Aeolian lyric poets are still freer, exchanging the basis 
for the dissyllabic anacrusis, as Sappho in Hephaest. 



rXvKVTTixQov afjidy^avov oQTZezov. 
6 



62 TROCHAIC RHYTHMS. 

The Roman lyric poets used the basis commonly in the 
spondaic form only; Catullus alone uses the trochee, the 
iamb, and once the tribrach. 

The trochaic basis, like every other rhythm which begins 

-X- X 

with an arsis, can be increased by the anacrusis : - - - ( - - - ^ 

XXX 

---,---, ), as Aesch. Sept. c. Th. 356, 368. 

-X / 

Tiv ix rojvd' Eixdaai Xoyog Ttaqa. 
IlayxXavTOJV alymv ImoQod^ov. 

Or an iamb may be prefixed (antispast), as Eur. 

Hec. 468. 

/ X / 

Pind. Pyth. TI. Epod. 8. 



Tbv eveQyetav ayavaig diiof^aig Inoiy^oiitvovg rlveod'ai, 

x-x- 

The basis may also be repeated - - - - . In this case the 
second basis is usually treated with less freedom than the 
first. Pindar doubles the trochaic basis alone, as Nem. IV, 
6, 22, 70. 

X~X-/ / ~ 



'Pfj{xa d' sQYiidtojv )[Qonc6T8QOv ^iotevsL 

^lyivag sxari. cpiXoioi ydg epilog iX'&cav, 

Avtig EvQMTiav Ttor) )[8Qaor hrea vaog. 

the dramatists also the iambic, see below. A double basis 

-x-x- 
with the anacrusis ----- likewise occurs, as Pind. Pyth. 
VIII. Epod. 6. (v. 40, 60). 

x-x- / - 



TROCHAIC RHYTHMS. 63 

Ttovg Qri^aig alvl^ato naQiitvovrag aixf^a. 
MavTEvadrcov % iq^d-iparo avyyovoiai ti^vaig. 

The basis is sometimes placed at the end of a verse, and 
is then called echasis {h^aaig), as Aeschyl. Eum. 321, 322, 

/ X- 



X- 



MazEQ, a II enxzsg, w [xdreQ, 

A ij dlaoTdt 'acu dedooxoaiv noivdv. 



Find. Olymp. IX. Epod. 4. 



Qdaaov xal vaog vttotitsqov navrd. 

The ecbasis was even repeated, as Find. Olymp. IX. 
Epod. 5. 

/ X X 



^yyekiav ni^^pco ravrav. 

The basis has this in common w^ith the anacrusis that both 
occur before such rhythms only as begin with the arsis ; the 
basis stands, therefore, before trochaic, dactylic, cretic and 
choriambic rhythms. 

As to the measure of the basis, it appears to be longer than 
that of the common trochees. In general the basis may be 
as long as one metre of the follovv^ing rhythm ; if the basis, 
therefore, stands before a trochaic rhythm which is to be 
measured by dipodies, it is to be drawn out as long as a 
trochaic dipody : 

42 

In certain lyrical kinds the measure of the basis and ec- 
basis seems to have been even quadrupled, so that the tro- 
chaic basis corresponds to the trochaeus semantus, the iam- 
bic to the orthius. Hence it was preferred to have the basis 
and ecbasis fall on weighty words (comp. K. O. Miiller : 
Aeschyl. Eum. p. 93, English translation, pp. 78, 79). 



64 TROCHAIC RHYTHMS. 

(2) The Dipody. — Dipodia trochaica, 

(a) The Monovieter . — Monometer trockuicus. 
----^ acatalectus 

--- catalecticus. 

Both verses and systems are composed of the acatalec- 
tic monometer. It is not used alone, but always connected 
with other rhythms, for example, with a logoaedic dactylic 
series : 

_v._w_wv._w_o (versus Sapphicus) 

Integer vitae scelerisque purus. 
Find. Pyth. IV. 1. 

Eur. Med. 977, 978. 

OvxsTi * ar6L]^ovai yuQ ig qjovov Tjdfj. 
/Js^erai vv^q)a )[Qvasciov dvadeaf^Mv. 
It is also found placed after, as Soph. Ant. 593. 






The catalectic monometer differs from the cretic by the 
pause only ; it is, therefore, not easy to determine whether, 
in certain cases, the form is cretic or trochaic. It seems to 
be trochaic when it occurs in strophes of Doric composition, 
especially at a close, as Pind. Olymp. III. 2. 



TROCHAIC RHYTHMS, 65 



and when in Roman comic poets it precedes iambic verses 
as a close, as Terent. Eun. II. 3, 1. Phorm. III. 2, 1. 

dccidi, 
Neque virgo est usquam, neque ego, qui illam e conspectu 

amisi meo. 
Dorio ! 
Audi, obsecro. — non audio. — parumper. — quin omitte me. 

The anacrusis is sometimes placed before the acatalectic mo» 

nometer : -----, a monometer iamb, hypercat. or tripodia 
iamb, catalect. {Trev&r^fxifieQeg iambicum). It occurs both 
singly, as Find. Pyth. VI. 7. 

Eroifxog vfxvcov. 
and united to other rhythms, as Soph. Oed. Tyr. 1339. 



'Et iaz dxovetv rj^ova, cpikoi. 



— / — / 



^^^ wv_w_ (hendecasyllabum Alcaicum). 

Odi profanum vulgus et arceo. 
Sometimes the acatalectic monometer is preceded by an 



/ / — 



iamb : ------, an apparent dochmius hypercatalectus, as 

Eur. Here. fur. 879. 

XoQevd^svT dvavXoig. 

The catalectic monometer with the iamb resembles complete- 
ly the dochmius, but the second short is never allowed to be- 
come irrational : - — - - , as Pind. Pyth. V. 6. 

2^v rot rvv ytlvrdg. 
(b) The Dimeter, — Dimeter trochaicus^ 

-^-^-^-^ acatalectus 

- V. _ .. _ V. _ catalecticus. 
6* 



66 TROCHAIC RHYTHMS. 

Both are frequently used singly as well as in connection 
with other rhythms, as Eur. Med. 979. 

/Js^erai dvaravog arav, 
Pind. Isthm. 11. Epod. 3. 

'lad^iiiav iTtTioiai vixav. 
Find. Olymp. III. Epod. 1. 

fi rivi, 'AQaivoov iq)8t[A,ag 'IlQa>ileog TiQorsQag. 

The catalectic dimeter occurs especially as the concluding 
Thythm, as Find. Olymp. VIII. 7. 

T(5v ds fiox^ojv dfjiTtvodv, 
Olymp. III. Epod. 1. ) 

^AtQeKTig 'EXXavodixag yXeq)dvcov Aircolog dvrjQ vipod^ev, 

and so likewise as a conclusion of trochaic systems. 

In the Roman comic poets it is frequently found as a close 
after longer rhythms which terminate in thesi, as after the 
tetrameter troch. acat. Terent. Andr. I. 5, 11. 

Adeon' hominem esse invenustum aut infelicem quemquam, 

ut ego sum ^ 
Pro Deum atque hominum fidem. 

Sometimes it precedes, as Terent. Adelph. IV. 1, 8. 

Quod si abesset longius, 
Prius nox oppressisset illic, quam hue reverti posset iterum. 

The anacrusis maybe prefixed to the acatalectic dimeter: 

^-^-^~^-^, a dimeter iamb, hypercat., so called, as Soph. 
Electr. 482. 

Ov ydq nor d\iva<3tu y o q)vaag. 
Pind. Olymp. VI. 1. 

Xqvaiag vTioatdaavteg evrai^ec TtQod^vQcp xf^akdfiov. 
In the Alcaic strophe it forms the third verse : 
Audita Musarum sacerdos. 



TROCHAIC RHYTHMS. 67 

The cataiectic dimeter with the anacrusis does not differ from 



— / 



the dimeter iamb. acat. ----^---. 

Both can receive a basis also, as Find. Olymp. VI. 6. 

X / / / - 

^vvor/.KJzyQ re tdv xleivdv ZvQay.oaadv • riva xev (fvyoi 

Eur. Iph. Aul. 241. 

TTQvuvcag arja JiyiXleiov azQarov. 
If a trochaic tripody is attached to the acatalectic dimeter as 
a sort of epode, it makes what is called the tetrameter troch. 
brachycat. / - / - / - 

Ovd' 'AiAeiiplav OQcire ntMy^ov ovx Icp rnuv, 
Aesch. Prometh. 534, 535. 

'Alia fioi ro5' iiifitvoi xai [U]noz i-Aza-Aeir^. 

(c) The Trimeter. — Trimeter trocliaicus. 

/ — 

---- acatalectus. 









_w__w_v._w_w_ catalecticus. 

Both are found as lyric verses only, sometimes singly, 
sometimes in connection with other rhythms. The acatalec- 
tic is particularly suitable for the close of an entire rhythmi- 
cal mass, as Find. Olymp. III. 5. 

JooQicp (^covdv EvaQfAoiai Tiedtlcp. 
Find. Olymp. VI. 7. 



Kelvog dvt]o, iinxvQdaig dq)\}6vo3v darc^v iv l^uaQTacg doidaig. 

As an example of the cataiectic, Find. Olymp. XII. 3, may 
serve : 

Tiv yuQ iv 7T0VT0J KV'^eQrcavTai d^oaL 
The acatalectic trimeter with the anacrusis is the trimeter 
iamb, hypercat. so called : 



68 TROCHAIC RHYTHMS. 

as Find. Nem. IX. 5. 

Uvd^dovog aiTtuvag oiio'AlaQOig inontaig. 
The catalectic with the anacrusis : 

does not differ from the trimet. iamb. acat. 

(d) The Tetrameter. — Tetrameter trochaicus. 

acatalectus. 



• / — / — / 



_s._^_v._^_.._v._^_ catalecticus. 

The acatalectic tetrameter is found in lyiic and dramatic 
poets in chorusses, without a fixed caesura, as Find. Isthm. 
III. 1, 25. 

El Tig dvdQcov 8vtv][i^(yaig ij avv svdo^oig dtS^Xoig, 
Tol uev Mv Qrj^aiai rifxdevTeg dq^dd^ev liyovrai. 

With the anacrusis it becomes the tetrameter iamb, hypercat, 
so called : 



as Find. Nem. V. 6. 

OvTico yivvai q)aivcov rsQeivav [xarsQ olvdvd'ag oTiMQav. 

The Romans made frequent use of the catalectic tetrameter 
in the dialogue of the drama ; versus octonarius. 

The catalectic tetrameter was used by lyric and dramatic 
poets in the dialogue as well as the melic part of the drama. 
As a lyric verse it has no fixed caesura, as Soph. Trach. 132. 

Nv'^ ^QOtoiGiv ovrs KrJQeg, ovte Tzlovtog, dXX' aifaQ, 

Find. Isthm. III. Epod. 5. 



Kal ixatQod'e yda^daxidaiaiv avvvofjioi TtXovrov diiarei'^ov 
tsTQaoQidv Tiovoig. 

As a verse of the dialogue it has usually the diaeresis in the 
middle. The Romans, who, likewise, use it frequently in 
the drama, call it versus septenarius. 



TROCHAIC RHYTHMS. 69 

By the inversion of the last foot, the catalectic tetrameter 
becomes the tetrameter troch. cJaudus, or Hipponacteus 






(e) Tlie Pentameter,-— Pentameter trochaicus. 
------^-----^---^-^ acatalectus. 



— / — / 



_.._v._v.__^_w_w_w_w_w_ catalecticus. 

The former does not appear to have been used, the latter is 
found as the closing rhythm in Pindar, Nem. VIII. Ep. 7. 

^vv d^eo) ydq roi cpvrEv&tig oX^og dvO^QCJuoiat TtaQixovojtsQog. 

Isthm. III. Epod. 6. 






^loQv ds xvXivdoixsvaig d[A8Qaig akX dllor i^dlla^ei^ ' dtQCo- 

roi ys (xdv Tzaideg d^eoov. 
Callimachus used this verse by the line ; the grammarians 

call it V7T8Q^8TQ0V. 

If longer combinations of the tripody are found, they are 
to be considered as trochaic systems. 

(3) The Tripody. — Tripodia troc/iaica, 

- w _ ^ _ w acatalecta, Ithyphallicus. 

/ ^ 

----- catalectica. 

The acatalectic tripody has the name Ithyphallicus as a 
form of certain v^anton songs, w^hich were sung during the 
exhibition of the i&v(pallog, at the Dionysiac festival. The 
verse was then used, joined as an epode with iambic trime- 
ters. 

The ithyphallic is particularly appropriate to the close of 
other rhythms, less to be used as an independent verse. Re- 
solutions frequently take place, more rarely in the last foot. 
Examples : Pind. Olymp. V. 2, 3, 4, 5, where the ithyphallic 
closes each verse. Soph. Oed. Tyr. 472. 



70 TROCHAIC RHYTHMS. 

KiJQeg dva7iXdx7]toL 

Archilochus and other writers of epodes frequently use the 
ithyphallic in distich composition, and in asynartete verses 
as the closing rhythm. 

The ithyphallic occurs sometimes in the beginning, or mid- 
dle, as Find. Nem. III. 2. 



Tap 7ToXv^8vav iv i8QO[A7]via Neixeddi. 
Find. Olymp. II. 7. 



Evcovv[A(ov ts TiateQcov doctor oqO'ottoIiv, 

The ithyphallic with the anacrusis ^ -^ -^-^ ^ is the tetra- 
podia iamb, cat, If a second ithyphallic follows this rhythm, 
without an anacrusis, the scheme of the Saturnine verse en- 
sues : 



which the Romans used with great license. 

Sometimes the basis is prefixed to the ithyphallic, as Aesch. 
Agam. 367, 368. 

X- / - 



/liog TtXaydv s^ovaiv eiTteiv, 
ndQsart tovro y i^ixevoai. 
or an iambic dipody : 



very frequently, as Aesch Agam. 192, 193. 

IJvoai d' dno 2JrQVfx6vog [xoXovaat, 
KaxoaxoXoi, vi^dridag, dvaoQfxoi. 

The catalectic tripody, called monometer trochaic, hyper- 
cat, also serves frequently as a conclusion of lyrical rhythms : 
as Eur. Elec. 865. 



Ku7.Xinxov cpddv ifAO) xoq(^. 



TROCHAIC RHYTHMS. 71 

With the anacrusis it is the tripodia iambi ca acat. ^ - ^ - ^ - . 
Sometimes also it takes the basis, as Pind. Pyth. VIIL 6. 13. 

-X / X -/ 

Tv yag ro fiaXd^axov sQ^ai re xai Tiad^etv oi^^g, 
TIciQ cuaar i^eQS'&i^cov, y.eQdog ds cpiXtarov, 

(4) The Tetrapody, — Tetrapodia trochaica, 

-w v._^ acatalecta. 

-v._v_w_ catalectica. 
The former in the lyric poets, as Pind. Olymp. I. 7. 



With the anacrusis it is the Pentapodia iamb. cat. 

The catalectic tetrapody is still more frequently found. 
It was called by the ancients XTjxvd^iov, It appears some- 
times singly, as Aeschyl. Agam. 1017. 

N'rjariv ojXeaev voaov, 

sometimes several times repeated, as Aesch. Eum. 331. 

T^ivog i^ 'Eqivvcov 

/IsafJLtog cpQ8V03v, dq)6Q[iixrog, avovd ^QOzoTg, 

sometimes connected with other rhythms, for example, with 
an iamb prefixed, Pind. Olymp. I. 11. 

MdxatQav 'isQcovog iariav^ 
with the basis Eur. Iph. Aul. 238. 

X / 

TIevrriKOvra vaval d^ovqiaig. 
With the anacrusis it is the Tetrapodia iamb, acat. 



72 TROCHAIC RHYTHMS. 

(5) The Pentajjody. — Pentapodia trochaica, 

_w_v. ^_w acatalecta. 

_w_^_s._w_ catalectica. 

Both more rare ; the former, for example, Aesch. Agam. 
240. 

/ / / 

'^E^aXX txaatov 'd'vrrjQmv art oufiarog ^iXei qjiloixrq), 
the latter, Find. Olymp. IV. Epod. 8. 



/ / 



0vovTat ds Tiai veoig iv av^Qaaiv. 

(6) The Hexapody, — Hexapodia trochaica, 

_v. w_v. V acatalecta. 

_v._s._-_.._w_ catalectica. 
Both seldom occur ; the former, as Find. Olymp. I. 6. 

Jlllo d^alnvoteQov iv ajjiiQct cpaevvov aatQov ZQijiiag 

dt ald^sQog, 
the latter, Find. Fyth. II. 1. 



rs/ /rs 



MeyaloTtoXieg c6 ZvQa'AOGca ^ad^vnolsiAOV, 



IAMBIC RHYTHMS. 73 

B. Rising, Iambic Rhythms. 
The iamb is the trochee reversed ; it is triple-timed, and ris- 

ing, - - - . The principal arsis falls upon the last two shorts, the 
last of which again has a stronger intensity (P. I. ch. 3. p. 12). 
Only the last two shorts can be contracted (P. I. ch. 5. p. 21). 

The iambic rhythm, as it belongs to the double kind, is 
less dignified than the anapaestic. It is more rapid and light- 
er on account of the livelier intensity of the arsis and the 
shorter extension of the thesis (P. I. ch. 3. p. 13), but more 
forcible than the trochaic rhythm on account of the termina» 
tion upon the arsis (P. I. ch. 1. p. 8). By various modifica- 
tions, how'ever, it is made sometimes more forcible and grave^ 
sometimes w^eaker and lighter. 

If the rhythm is arranged by dipodies, then, for reasons 
above given (P. I. ch. 4. p. 17), the first thesis of every dipo- 
dy, may be converted into the irrational measure ; hence in 
an iambic series to be measured by dipodies, the freer mea- 
sure^--- is ahvays allowed in the uneven places (in sedi- 
bus imparibus). By measuring with dipodies and the fre- 
quent admission of the irrational time, the rhythm approach- 
es the anapaestic measure, and hence becomes graver and 
more dignified ; by measuring w^ith feet, and by the frequent 
resolution of the iamb, it becomes lighter and more rapid. 
A distinction, therefore, is made here, as in the trochaic 
rhythm, between light iambs, which are to be measured by 
feet, and w'hich on account of their rapidity, w^ere used by 
preference in lyric poems of the Aeolian style ; and the grave 
kind proceeding by dipodies, which on account of their 
greater dignity, harmonize better \i\\\\ the Dorian mood. 

The irrational anapaest may, under certain conditions, 
stand in every place for an iamb. The proceleusmatic, was 
entirely excluded by the Greeks, except in a few cases. 

The elder Roman dramatists permitted the licenses, allow- 
ed in the uneven places, in the even places also, W4th the 
exception of the last thesis, upon which another arsis follows-, 
which they kept pure (P. I. ch. 4. p. 19). They also admit- 
ted the proceleusmatic, but more rarely, and usually in such 
a m.anner that it is concealed by the pronunciation : 



74 



IAMBIC RHYTHMS^. 



Iambic rhythms delight in principal and foot caesuras; 
longer verses, as the tetrameter, have ordinarily the diaeresis 
in the middle. 

The catalexis is only in syllabam, and as it comes upon 
the thesis, it is less frequent than in trochaic verses (P. I. ch. 
7. p. 26). 

The most usual rhythms are the following : 

(1) The Monopody* — Monopodia iambica. 



It serves, like the trochaic monopody, as the basis before 
longer rhythms, as Pind. Olymp. I. 1. 



J^Qiatov fxsv vdcoQy 6 ds ^iQvahg aid'oiA.evov ttvq. 

In Pindar it is found only in the form of the iamb, or the 
tribrach, and never doubled ; it is also never interchanged 
with the trochaic basis. In the Aeolian lyric poets .and the 
dramatists, it appears also as a spondee, as Eur. Ion. 190, 
201. 



^Idov ravd' ax^Q7]60v. 
Kai ixav rovb' ad-Qrjaov. 
or dactyle, as Aesch. Sept. c. Th. 222. 



^Antoiievov ttvqi datop. 



IAMBIC RHYTHMS. 75 

They may also be interchanged with the trochaic, and 
double it, as Soph. Oed. R. 463—466. 



— / — / / 



Tig ovriv a d^eaTTiSTzsia /leXcplg eiTte nitqa 
J^QQrjz aQQijtcov zeXeaavra (foivlaiai x^qclv ; 

(2) The Dipody, — Dipodia iamhiccu 



(a) The Monometer. — Monometer iamhicus. 

- - ^ - acatalectus. 

^ - ^ catalecticus. 
Sometimes systems, sometimes verses are composed of 
the dipody. The monometer was also used singly by the 
lyric poets, as Pind. Olymp. VII. 3. 

In the comic poets it sometimes forms a kind of close, as 
Arist. Nub. 222. 

S2 2JwKQateg 
i2 2!co>cQatidiov. — ri {as KaXeig, Cfjq)TJ[X8QS ; 

The monometer is very frequently connected with other 
rhythms, as Soph. Aj. 622. 

/ X- / 

'H Ttov 7ta7.aia [xsv evrqoqjog dfASQa, 

The catalectic monometer - - ^ (amphibrachys), is nothing 
else than the trochaic basis with the anacrusis. 

(b) The Dimeter. — Dimeter iamhicus. 
--s._w_w__ acatalectus. 
v._w_.w_s. catalecticus. 



76 IAMBIC RHYTHMS. 

The former occurs frequently in the lyric and dramatic 
poets, partly as a single verse, as S^^ph. Oed. R. 1336. 

'Hv ravd^' oTtcaaTieQ xal ov qji^g^ 

partly in connection with other rhythms, as Pind, Nem. V. 1. 



Ofx dvdQtavTOTioiog eift\ coat iXivvaovza fi tQyd'Qea'&at 
dydXixaz ijt avzdg ^ad^fj.idog. 

The acatalectic dimeter often occurs in the writers of epo- 
des as an epode, particularly after an iambic trimeter, or 
heroic hexameter. 

In Aristophanes it sometimes forms a close after trochaic 
tetrameters, as Vesp. 1266, 1269, 1270. 

JJoXkd'Mg d)j '^0^' Eiiavrop ds^iog 7ZEq)v>i8vaiy 
Kat aycaiog ovdsTicoTiorB. 

Likev/ise it serves the Roman dramatists as a close, before 
and after longer iambic or trochaic verses, as Terent. Andr. 
III. 3, 5. 

Ausculta paacis : et quid te ego velim et quod tu 

quaeris scies. — 
Ausculto, loquere, quid velis. 

The catalectic dimeter is commonly changed into the 

catalectic tetrapody ^ - ^ - v. - ^ ^ and so occurs as the close 
of the iambic systems. 

The Roman dramatists make use, though more rarely, of 
the catalectic dimeter as a close, as Terent. Hecyr. V. I, 5. 

Aut ne quid faciam plus, quod post me minus fecisse 

sdtius sit, 
Aggrediar. Bacchis, sAlve. 

(c) The Trimeter. — Trimeter iambicus. 
acatalectus. 



/ — / 



/ — / — 



--^~--^-^-- catalecticus. 
The acatalectic trimeter is used partly with other rhythms 
in lyrical poems, partly by the line. As a lyric verse, it com- 



IAMBIC RHYTHMS. 77 

monly occurs lightly constructed, and with many resolutions, 
as Pratin. in Athen. XIV. p. 617. C. 

Tig 6 d^oQv^og ode ; tip a tad a ra )^OQevixata ; 
Eur. Helen. 1117, 1118. 

"^Og sfxoXav tfj^oXs Tzsdia ^aQ^aQCo nldtci, 
^'Og idQafAS Qod^ia fAsXea IJQiafxidaig aycov, 

but sometimes also without resolutions, and with the appli- 
cation of the middle time, as sometimes in Pindar, who other- 
wise avoids all the current line verses, Nem. V. 4, 

AaiJLTicovog viog Tlvd^iag evqvad^Evijg. 

The lyric poets appear not to have allowed the anapaest ; 
where it occurs, the verse must either be otherwise measu- 
red or it is corrupt (Comp. Hermann. Elem,). 

The Trim. iamb, claudus, or Hipponacteus is a trimeter 
with the last foot reversed : 






It occurs in satiric poetry only. 

As in the catalectic trimeter, so called, the first thesis of 
the third dipody never admits the middle time, it seems rather 
to be composed of a trochaic monom. with an anacrusis, and 
a following ithyphallic : 



— / — f 



As such it often occurs in the chorusses of the dramatists, 
as Soph. Ant. 592. 

2Jt6vcp ^QSfxovat 8' dvTiTrXrjyeg dxraL 
So also it is used by Alcm. in Athen. III. p. 111. A. 
KXivai fi8v sTira xat toaai TQaTzsadat 
Maxcovidcfjv aQtcov iTTiazsqjotaat, 
Alvo^ rs, aaadjjiq) rs y,rjv TteXiyvaig, 

(d) The Tetrameter. — Tetrameter iambicus. 

"-"-"-"-"---^-^- acatalectus. 

"-^-^-"-"-^-^-^ catalecticus. 
7* 



78 IAMBIC RHYTHMS. 

The acatalectic tetrameter is employed by the dramatists 
as a lyric verse without a fixed caesura or diaeresis, often 
with many resolutions and lightly constructed, as Aesch. 
Suppl. 811. 

udvaijia, iid^iiia 5' sTiide, TtdreQ, ^iaia ^iij q)ilsig oqcov. 

Soph. Oed. Col. 1076. 

Tav daivd rXdaav, dsivd §' evQovaav ttqoq avd^aifKov Tiad^Tj^ 

The Dorian lyric poets have it more rarely, as Find. Olymp. 
XL 3. 



Efxag ysjQaTtrai. rXvxv ydg avrr^ i^eXog 6q)8iX(y)v znikilad^ . 
OQ Bloia, dXXd ov xal &vydr7]Q. 

The Aeolian lyric poets perhaps more frequently, as Alcae- 
us in Hephaestion : 

/le^ai fie yycoj^id^ovra, dt^at, Xiaaofjiat as, Xiaaoixat, 

The Romans use it by the line, in the dialogue of the 
drama; versus Boiscius or octonarius. 

As in the catalectic tetrameter, so called, the fourth dipody 
never admits the middle time, the verse is rather composed 
of an iambic dimeter and an iamb, tetrap. cat. 



— / — / 



Thus the Greek and Roman comic writers often use it by 
the line ; Versus Septenarius or quadratus. Sometimes also 
it occurs singly as a lyric verse, as Soph. Electr. 1420. 

UoXvQQvrov ydq aljx vnE^aiQovai tcSv Ktavovrcov, 

Longer combinations of the dipody are to be regarded as 
iambic systems. 

(3) The Tripod]/. — Tripodia iamhica, 

— f ^ 

v^-v^-w- acatalecta. 

V. ^ catalectica. 



IAMBIC RHYTHMS. 79 

The former serves sometimes in the lyric poets as the close 
of a rhythmical mass, as Pind. Olymp. IV. Epod. 10. 

'EoLxota )[q6vov, 

but also occurs elsewhere singly, as Soph. Electr. 479. 

or connected with other rhythms, as Pind. Olymp. XIV. 10. 



'^Eqycov iv ovqavca, ]^Qva6ro^ov S^sfj^evai Ttaqa, 

It is found as a close after a catalectic trochaic tetrameter 
in Aristophanes, as Vesp. 339, 370. 

Tiva TtQocpaaiv g/oo^. 
AlX ETzaye rrjv yvad^ov. 
The catalectic tripody is the Monom. troch. cum anacrusi. 

(4) The Tetrapody, — Tetrapodia iambica. 
^ ^_-_ acatalecta. 

^ - ^ - ^ - ^ catalectica. 

Both are frequent in the lyric poets and dramatists, some- 
times singly, as Pind. Olymp. IV.. Epod. 3. 

^'EXvaev i^ drifiLag, 

Aesch. Agam. 120. 

Soph. Aj. 376. 

^Eqeiivov aif^ idsvaa, 

sometimes in connection with other rhythms, as Aesch. 
Agam. 1156. 



jTo) ydiioL ydfjtot TlaQidog oXid^Qioi (fiXcov, 
Pind. Pyth. II. 5. 



80 IAMBIC RHYTHMS. 



EvaQfiatog 'Isqoov iv a y^Qatecov. 
(5) The Pentapody, — Pentapodia iambica. 

^-^-^-^-^- acatalecta. 

\J\^ \J\J V^V^ WV^ WW 

^-.w_w_w_w catalectica. 

WW WW WW WW 

Both rather infrequent. For an example of the acatalectic, 
take Pratinas in Athen. XIV. p. 617. C. 

'0 5' avXog vareqov xoQevstcOy 

of the catalectic Soph. Philoct. 1095. Aesch. Sept. c. Th. 
215. 

2!v toi 6v TOi xarr^^t(x)6ag. 

Iloleog y v7rsQ8)[oiev dXxdv. 
(6) The Hexapody. — Hexapodia iambica. 

w_w_w_w__w_w_ acatalecta. 



^-----^---- catalectica. 

The former is not distinguished from the lightly construct- 
ed iambic trimeter, hence it is often doubtful whether such 
verses are to be measured by feet or dipodies. Pind. Olymp. 
I. 8, is to be taken as a hexapody, not as a trimeter : 

'^Od'sv 6 TTolvcpatog vfxvgg dfjiqiiBdlXetai, 

The catalectic hexapody is only distinguished from what 
is called the catalectic trimeter, by the circumstance that 
the third thesis can nei^er assume the middle time: where 
this distinguishing mark is wanting, therefore, it remains in 
most cases doubtful how the verse is to be taken. 



DACTYLIC RHYTHMS. 81 



CHAPTER 11. 

RHYTHMS, THE GROUND FOOT OF WHICH IS FOUR-TIMED. THE 
EQUAL OR DACTYLIC-ANAPAESTIC KIND. 

A. Falling, Dactylic Rhythms. 

(a) Rational Dactyls. 

The ground foot of the dactylic rhythm is four-timed and 
descending ; the principal arsis rests upon the first two shorts 
which for reasons stated above (P. I. ch. 5. p. 20) appear 
almost always contracted - ^^ , except perhaps in lyric poets 
in proper names, as Pind. Isthm. III. 63. 
/ ^^ — / — 



comp. also Nem. VII. 70, and in dramatists in other cases 
also, although rarely, as Soph. Ant. 797. 

X / ^ 



Nvfiqjag, t(Sv ^sydXcov TiaQsdQog iv aQ^ccTg, 

The shorts in the thesis occur either resolved, or contract- 
ed - - (spondee). The resolution of the thesis renders the 
rhythm more rapid, the contraction slower and more solemn. 
The Dorian lyric poets usually contract the thesis in proper 
names only, as Pind. Olymp. XL 99. The Aeolian lyric, 
the epic and* dramatic poets admit the spondee also in other 
cases. The character of the dactylic rhythm is quiet and 
dignified in consequence of the relation of equality between 
the intensity and extension (P. I. ch. 3. p. 11). The dactyl 
is, by its gentler fall, distinguished from the anapaest which, 
on the contrary, rises forcibly. 

The dactylic rhythm delights, according to P. I, ch. 11. p. 
39, in foot and principal caesuras; even diaereses are, in 
certain verses, not rare. The caesura is of a double kind, 

either after the long - | " ^ , the masculine, or after the first 
short - " I " , the feminine, xard rov tqoxc/^^ov. 

The acatalexis is rare on account of the want of a close. 



82 DACTYLIC RHYTHMS. 

The last short of an acatalectic dactyl may by a peculiar 
license be changed into a long (P. I. ch. 4. p. 19). 

The catalexis is either in disyllabum, terminating in thesi, 
or in syllabam, terminating in arsi. 

The lyric poets often prefix to dactylic rhythms the ana- 
crusis, the trochaic or iambic basis. 

In the thesis it is allowed to shorten a long by the hiatus. 
The Roman poets, however, make very sparing use of this 
liberty, as Virg. Georg. I. 281. Aen. III. 211. Eclog. VIII. 
108. Hor. Sat. I. 9. 38. 

Ter sunt conati imponere F e li o Ossam. 
Insulae lonio in magno, qaas dira Celaeno. 
Credimus, an q u i amant, ipsi sibi somnia fingunt. 
Si me amas, inquit, paulo hie ades. fnteream si. 

The dactylic arsis, especially in the principal caesuras, has 
the power of lengthening a short syllable, and excusing an 
hiatus, as Horn. II. I. 19. 24. 

AXX ov>c AtQetdrj AyaiAifjivovi rjvdavs d'VjjKp. 

The lengthening by the arsis is in the lyric and dramatic 
poets very rare, as Soph. Ant. 134. 



AvrhvTta d' sTn ya Ttsae ravtaXcod'eig, 
Pind. Olymp. VI. 103. 

/iicTtora TTovzofA^edov, svd^vv 8s nXoov HafjidrcaVy 
comp. also Pyth. IX. 114. « 

The Latin poets, too, sometimes, though more rarely than 
the Greek, used in the arsis a short as if it were long, as Virg. 
Eel. X. 69. Aen. V. 521. IV. 64. 

Omnia vincit A mor et nos cedamus Amori. 
Ostentans artemque pater arcumque sonantem. 
Pectoribus inhians spirantia consulit exta. 

and allowed the hiatus in the arsis, as Virg. Eel. II. 24. Aen. 
IV. 667. Eel. III. 6. 

Amphion Dircaeus in Actaeo Aracyntho. 
Lamentis ge mi tuque et femineo ululatu. 
Et succus p e c o r i e t lac subducitur agnis. 



DACTYLIC RHYTHMS. 83 

The following measures are the most common : 
(1) The Monopody, or the Manometer. 

Wherever the monometer occurs, it is the resolution of the 
iambic basis, and therefore to be measured as an iamb, as 
Eur. Iph. Aul. 168. 

_v.^ w^v. _^w-. (Glycon. polysch.) 
XaX'/iida ttoXiv ijxav TtQolmovd' , 

(2) The Dipody, or the Dimeter. 
_vs._^w acatalectus. 

- ^ ^ - ^ catalecticus in disyllabum. 

- ^ ^ - catalecticus in syllabam. 

The acatalectic dimeter is found in systems only ; where 

it occurs singly, it is logaoedic - ^ ^ - - - . 

The dimeter catalect. in disyllabum is the versus Adonius 
so called. It is frequently found single, especially as a closing 
rhythm, as Soph. Aj. 409. 

Xeiqi (povavoi^ 

and so it serves as epode in the Sapphic strophe. It is also 
repeated, as Pind. Nem. 11. 5. 

'E^ TToXvvfxvi^rq) /lihg aXaei, 
or joined with other rhythms, as Soph. Aj. 182. 

May^avaTg itioaro Ico^av. 
It frequently receives the anacrusis : 

as Soph. Oed. R. 896. 

Ti deT (AS )[0()ev8iv. 



84 DACTYLIC RHYTHMS. 

X-/ -- 

With the basis - ^ - - ^ - - it is the Pherecratean, of which 
below. 

The dimeter catal. in syllabam resembles the choriamb, 
from which it is distinguished by the pause alone, and by the 
circumstance that the iambic dipody can never be placed in 
its stead. 

(3) The Tripody, or the Trimeter, 

-wv._^w_^w acatalectus. 

/ — 

_v.v._K.v._^ catalecticus in disyllabum. 

^ ^ - catalecticus in syllabam. 

The acatalectic trimeter does not occur ; where it seems 

to occur, it is to be measured as logaoedic, -v^^-^----. 

The dimeter cat. in disyllabum is very frequent in lyric 
and dramatic poets, both singly, as Pind. Olymp. X. Ep. 3. 

Soph. Trach. 96. 

'^AXiov 'Aliov aiT(S. 
and joined with other rhythms, as Eur. Med. 977. 

Ov'AEti, • aretxovai yaq ig cpovov ^drj. 
Sometimes it is repeated, as Soph. Trach. 112 and 122 : 

Holla yoLQ a)(jr d>id[2avrog ^ Norov ij BoQta rig, 
^i2v i7n[X8piq)Ofxsva a ddeta [A8v, avtia d oiaco. 
Pind. Olymp. VIII. Epod. 5. 

Hv d' igoQciv >talog, eQycp % ov v.ard eldog iX8y)[coVy 

apparently a dactylic hexameter ; the third foot, however, 
can never be a dactyl. 

The trimeter cat. in disyll. receives also the anacrusis : 



as Soph. Oed. R. 154. 



DACTYLIC RHYTHMS. 85- 

and the basis : 

X - / - 

as Aesch. Suppl. 85. 

El d^su] /liog ev 7tavaX}]{}wg. 

The trimeter cat. in syllab. {7r8vd'7](,ufieQlg dactylicum) oc- 
curs partly as a single verse, as Pind. Olymp. VIII. 5. 

Mcaofit'vojv fxeydXav, 

and the writers of epodes thus use it as an epode ; partly 
joined with other rhythms, as 

s._v._w_ww_v.v._ iambelegus. 
IIq(Stov iilv Ev^ovlov Qsi^iv ovQaviav, 

-^^-^--^-- ^v.__v.^_ Platonicum. 

The comic poet Plato in Heph. 
XaiQS, Tialaioyovcov dvdQoov d^earoov ^vXXoye 7tavtoa6q)(ov, 



Choerilus made a peculiar use of this rhythm in the Satyr 
drama. But it occurs in other poets, also, as Aesch. Prom. 
530. 



Mrj8' iXivvaaifii -O^eovg oaiaig '&otvaig 7TOTin(yao[xsra. 

The repetition of the cat. in syll. produces the elegiac pen- 
tameter so called : 






which with the hexameter forms the elegiac distich. This 
combination does not occur in Pindar, but in dramatists, as 
Aesch. Agam. 1022.. 

Ovdt Tov 6Q\}odar] tmv cp&i^svcov dvayeiv. 

The triraet. cat. in syll. also receives the anacrusis, as Eur. 
Electr. 862. 

NUag GtecpavrjqjoQiav, 
and the basis, as Aesch. Eum. 1033. 



ob DACTYLIC RHYTHMS. 

X / / 

NvyiTog Ttaldtg cincudegy vii ev&vq:iQon TtOfiTia. 

(4) The Tctrapody, or the Tetrameter. 

_wv._^w_^v._^v. acatalectus. 

_^.v._^.w_ww_w catalecticus in disyllabum. 

-_vv^_ww_ww_ catalecticus in syllabam. 
The acatalectic tetrameter occurs in the Aeolian lyric po- 
ets and the dramatists, repeated by systems. It frequently 
occurs in dramatists singly, or joined with other rhythms, as 
Soph. Phil. 827. 

"Tnv y oSvvag ddayg, vTzva 5' dXyscov • 
in Latin, also, as Terent. Andr. IV. 1,1. 

Hoccine credibile aut memorabile, 
after which cretics follow. 

The acatalectic tetrameter is also repeated, as Aesch. Pers. 
852. 

£i TTOTtoi, Tj [AEydlag dyaddg re Tioliaaovoiiov ^lordg 
eTtexvQaa^sv. 
The tetramet. cat. in disyll. and in syll. occurs frequently 
in lyric and dramatic poets, as Soph. Oed. R. 175. 

''AXkov 5' dv dXXcp TTQogcdoig dn^q mnteqov oqviv. 
Pind. Pyth. IV. 6. 

/ / / 

XQfjasv or/daiiJQa Bdrrov naQnocpoQOv Ai^vag, IsQav, 
Both can receive the anacrusis and basis. 

(5) The Pentapody, or the Pentameter. 

_ww_v.w_vw_^v-.wv. acatalectus. 
«.ww_v.v-.v.v«w_^ catalect. in disyllab. 
-wv«ww_vw_^w« catalect. in syjlab. 



DACTYLIC RHYTHMS. 87 

It seems that tbe acataJectic pentameter does not occur. 
The pentameter cat. in disyll. occurs in dramatic and lyric 
poets, as Arist. Nub. 285. 

'Vfifuc yew uid^^Qog d'Aafiatov aeXayeTzai, 
Aesch. Agam. 121. 

^ild'ov, aihvQv elm, to 5' ev vixdrco. 
Soph. Phil. S37. 

KaiQog roc Ttdvrcov yvco^uav Tcr/ cor. 
The catal. in sylL, too, is met with in lyric and dramatic 
poets, as Soph. Aj. 225. 

Tcop ^leydXcov /iava(av vno yj.r^^Giitvctv, 
with the anacrusis, Soph. Phil. 695. 



UaQ cp 6T0V0V dvxnvnov ^agv^QcSz dTio'/J.avaeisv 
aiuatr^Qov. 

(6) The Hexapody, or tlie Hexameter, 

_ww_wv._v.w_ww_..w_ww acatalectus. 
_v.w_v.w_^w_ww_wv_w catalect. in disyll. 

__ww_wv._v.w_v.w_o^_ catalect. in syll. 

The acatalectic hexameter is found in systems only. 

The hexameter cat. in disyllab. is the most common metre. 
The epic poets use it by the line, whence it is called versus 
heroicus, or the epic hexameter. 

The lyric and dramatic poets, too, make use of this verse, 
but singly among other rhythms. Sometimes several follow 
one another, as Soph. Trach. 1009 — 1013. Eurip. Troad. 
590 — 599. Such a lyric hexameter usually has the caesura 
after the third arsis, as Soph. Oed. R. 159. 

iTjOcorcd (j£ y.exXoixevog, d^vyazeQ /liog, dii^Qor ^Ad^dva, 

The caesura, however, is not indispensable, Eur. Suppl. 
274. 

Ovg vno teiysfji Kad[Aeioi(jiv dTtcoleaa KOVQOvg. 

This lyric hexameter usually admits the spondee in proper 
names only. 



88 DACTYLIC RHYTHMS. 

It has sometimes the basis, as Aesch. Pers. 864. 
Ooaag d' elXa TioXeig, ttoqov ov dta^ag "Alvog notaixoio. 

An apparent hexameter is produced, when a dimeter cat. 
in disyll. is joined with a tetrameter cat. in disyll., as Eur. 
Phoen. 790. 



Alfiati Qij^ag * xo3[j.ov dvavXorarov TtQoxoQevEig, 
or two trimetri cat. in disyll. 



which rhythm even Pindar has, though he does not otherwise 
use the hexameter. 

Through the inversion of the last foot of the hexameter, a 
hexameter ^eiovQog, so called, arises : 



The hexameter cat. in syll. does not appear to have been 
in use. The union of the trimet. cat. in disyll. with the tri- 
met. cat. in syll. produces, in appearance, such a verse, as 
Pind. Pith. III. Epod. 7. 



'^Ean ds cpvlov iv dvd^QcoTiotoi ixaratotarov. 
The third foot is never allowed to be a dactyl, whence the 
combination is apparent. 

Longer dactylic series, which are mentioned by gramma- 
rians, as the heptameter cat. in disyll. (versus Stesichorius, 
Serv.), octameter cat. in syll. (versus Ibycius, Serv.), and the 
octameter cat. in disyll. seem to be either combinations, or 
portions of dactylic systems. 

(b) Irrational Dactyls. 

Logaoedic Series. 

The irrational dactyl differs from the rational by the less 
extension and greater intensity of the arsis (P. I. ch. 4. p. 
19). It thereby approaches to the trochaic rhythm, and, 
therefore, easily unites with it. Such dactylic-trochaic verses 
were, on account of their greater approximation to the rhythm 
of common language, called logaoedic (Xoyaoidixoi). The 
shorts of the dactylic thesis are rarely contracted, because 
the greater rapidity which distinguishes the irrational from 
the rational dactyl, would thereby be lost. In the trochees 



DACTYLIC RHYTHMS. 0^1 

the long is not used for the short ; resolutions, however, of 
the trochaic arsis, especially in the odd places, are not infre- 
quent. 

Since the logaoedic, like the rational dactyls, are measured 
by feet alone, and the number of feet both of the dactylic se- 
ries and trochaic (measured by feet), never exceeds six, it is 
apparent that the logaoedic series, also, standing between the 
two, have never more than six feet at most. Hence it fol- 
lows that the number of the dactyls is always in the inverse 
ratio to that of the trochees. Logaoedic series in which the 
number of dactyls is equal to that of the trochees, are exclud- 
ed from Dorian poetry : 



Logaoedic series, in which the trochees are in too unequal 
a ratio to the dactyls, do not frequently occur : 



The termination in trochees is, indeed, common in irra- 
tional dactyls, yet many dactylic rhythms occur, used chiefly 
by Aeolian lyric poets by the line, without a trochaic termina- 
tion, with a basis which, because in them the dactyl never 
appears as a spondee, seem likewise to be irrational. The 
basis is treated freely, in the Aeolian manner. 

The following are the Aeolian verses, so called : 

X- / - 

1. -w«wv_v.w_ws. trimeter acatalectus. 

X-/ - 

2. _-_vw_wv._w trimeter catal. in disyllab, 

X-/ - 

3. _v._v^^._v^w_»^w__v>v> tetrameter acatal. 

X- / - 

4. _s.-vw_ww_ww_.. tetramet. cat. in disyll. 

X- / - 

5. _w_vw__^.>_w^_^v_^ pentamet. cat. in disylL 

mog AioXixov. 

8* 



90 DACTYLIC RHYTHMS. 

Of the logaoedic dactyls the following are in use : 

(I) Logaoedic dactyls with a simple dactyl, 

(a) Dactylicus simplex simpliciter trochaicus. 

— ' V. .. _ V. acatalectus. 
-'--- catalecticus. 
The former is the versus Adonius, the latter the choriamb. 
The Adonian with the basis forms the Pherecratean, 
x~ - 

which in glyconic systems forms the close ; but it can also 
be repeated by systems. It occurs not infrequently, in lyric 
and dramatic poets, singly, as Find. Olymp. I. 4. Eur. Hipp. 

'^EXdeat q)iXov ijtOQ. 
n^Xov a'Qvya Xsktqcov, 
or in connexion with other rhythms, as Pind. Isthm. VI. 5. 

X / X -x / / 

J^vtetXag /Ilovvgov, tj xqv<3(^ ^eoovvxziov viqjovra de^a[j.8va 
zov cpiqrarov d^eojv. 
It is also repeated twice or thrice, as Aesch. Pers. 556. 

To'^aQ'^og nohrizaig 2Jov(Jtdog epilog ayacoQ. 
Eur. Here. fur. 359. 

IIqoozov fj.8v /Jiog alaog i^Q^^fxcoae leovrog, nvQaov 5' aiiepe- 

(b) Dactylicus simplex dupliciter trochaicus, 

/ — 

_ V w w acatalectus. , 

/ "^ 

_ w w _ ^ _ catalecticus. 

The former is very common in lyric and dramatic poets, 
especially as the closing rhythm, as Pind. Pyth. II. 8. 



Keivag ayaval^iv iv xtQo) Ttomilaviovg tddfAaaae TK^Xovg. 
Aesch. Prom. 906. 



DACTYLIC RHYTHMS. 91 



Tav /liog yaq ov^ oqcS [a^tiv OTta qjvyoiii av. 
It frequently receives the anacrusis, Soph. Trach. 957. 



or the basis, 



a Glyconeus hypercatalectus, so called, as Aesch. Choeph. 
793. 811. 

TIaXiiiTToiva d^eXcov dfxeLipei, 

^^Oiifiaai dvoqjEQocg KaXvTztQag. 

According to Hephaestion this rhythm was called Sapphi- 
cum enneasyllabum or Hipponacteum : 

Kal xvtaari rivd d^viiiri^yag. 

With the iambic or trochaic basis it is the Pindaricum 
hendecasyllabum, so called : 

/ X - 



Movaayirag [xe xaXei yoQevcfai, 
With a preceding trochaic dipody it is the Sapphic verse, 
versus Sapphicus hendecasyllabus, of which the sapphic stro- 
phe is composed : 



/ — / 



TIoimlod^QOv , dd^dvar ^cpQoblta. 

If to this rhythm the anacrusis is added, the Alcaicum 
dodecasyllabum is produced : 






If a cretic follows this measure, the epionicum tetramc- 
trum catalecticum, so called, is formed. 






ToiovTog elg Qf^^ag ndig dQiid^zeaa oyrnievog. 



9'2 DACTYLIC RHYTHMS. 

The catalectic is likewise very frequent, as Eur. Med. 847 
Pind. Olyrap. II. Epod. 1. 

r f 

AoiTTc^ ysvet . rmv ds 7Z87TQay(X8vcop, 

If a trochaic dipody with the anacrusis is prefixed, the 
Alcaicus hendecasyllabus is formed : 



— / — / 



J4va^ JdTToXXov, Ttoi (AsydXco /liog, 

the principal verse of the Alcaic strophe. 

The catalectic frequently receives the anacrusis : 
-- / "^ 

Soph. Oed. R. 1186. Pind. Pyth. VII. 6. 

'Zoo yeveal ^qotcSv. 

NaiovT ovvjAa^oixai. 

With the basis it is the glyconic : 
x- / 



This dactylic form of the glyconic is the original and 
pure, as Dorian lyric poetry uses it exclusively. In Pindar 
the bases are not changed ; resolutions are frequent. 
Pyth. VIII. Epod. 5. 

/ / X / 



x^ / 

V. 1. v^w_ww_v._ 

^tXocpQov 'Aaviia, /lixag, 

X / 

V. 2. _ V. - ^ ^ .. ^ V. « 

fi fAeyiaTOTZoXi {}vyarEQ. 
x^ / ^ / 

Pyth. VL3. ^^^-^^-^^^-^- 

J[va7ro)J^O(X£Vy ofAcpaXhv eQi^Qo^ov, 



DACTYLIC RHYTHMS. 93 

The dramatists, too, have this dactylic glyconic, partly 
singly among other similar measures, as Aesch. Agam. 152. 

Ner^mv r^yaova Gvixcpvxov, 

partly in systems the close of which is formed by the Phere- 
cratean. The Ionian lyric poets, too, have such systems of 
pure glyconics, which close with a Pherecratean. Besides 
this dactylic glyconic there is yet another of choriambic 
rhythm which admits the middle time in the thesis of the 
closing iamb, 

X- / - 

in the basis allows bolder rhythms, and admits polyschematist 
forms. The dramatists use it both singly and in systems. 

The glyconic is frequently united with the Pherecratean 
in one verse, as Aesch. Suppl. 686. 

X / X - 



Evixevrjg d' 6 Av'aeioq sazco ndaa vsoXaia. 

If such a verse is used by the line, it is called a Priapean, 
versus Priapeus. 

Sometimes an anacrusis precedes the basis of the glyconic. 

-X- / 

as Soph. Electr. 474. 

^ Kai yvco^iag lemoiiiva aoq)dg, 

or an iambic monometer ; 

- / X- / 

^-^ — v.-w-._v_ Alcmaicum dodecasyllabum. 
KoXttcu g ids^avd"' dyvai ^aQtzag Kqovcp, 

(c) Dactylicus simplex tripliciter trockalcus, 
««.w_v_v_v. acatalectus. 

-_c-v._w_^_ catalecticus. 
The former occurs singly, as Soph. Oed. Col. 130. 

Kai 7zaQa{jiei^6[Asa\f' ddeQKTcog • 
with the anacrusis. 



94 DACTYLIC RHYTHMS. 

Find. Nem. 11. 2. 

PartZMv 877 twv zanolX doidoL 
Sappho in Heph. 

TlhjQijg i^ilv IcpalvEd^ a aeXdva. 

Al d' cog 718QI ^coiAov 8ard&t]6av, 

With the basis it is the Phalaecean verse, versus Phalae- 
ceus hendecasyllabus. 

X- / - 



which is used by the line, especially by Roman lyric poets. It 
occurs, however, singly, too, as Soph. Phil. 136, 151. 

2^tiyeiv ; ri Ityeiv TZQog civdQ vnontav ; 
0Q()VQ8iv ofifA mi o(p iidXiara xaiQc^y 

and joined with other rhythms, as Pind. Nem. VII. Epod. 5. 
x^ / x^ / - 

Aoyov '08v(ya8og y TtdO-ev did rov ddvsTtrj yevsa^' '^OfxrjQov. 

If an anacrusis precedes the phalaecean verse, the follow- 
ing metre is formed : 

-X / -• 



which Hephaestion considers Ionic with the anaclasis. I|e 
quotes as an example : 

'E)^8L iilv AvdQOiAtda yiokdv diioi^dv, 
2Ja7icpoi, ri tdv ttoXvoX^op AcpQoditav, 
The catalectic, too, is very frequent, as Aesch. Suppl. 101. 

Avtod^ev 8^87t(}a^8v sfiTiag, sdQdvoov icp dyvwv. 
Anacreon uses it with an ithyphallic following : 



TOV IVQOTZOIOV 7]q6[X7]V ^tQdmV, 81 K0ldl](J8l. 

Sometimes it receives the anacrusis, as Eur. Ale. 443. 



Atjivav A](^8Qovriav noQ8vaag iXdra dixojTtcp, 
or the basis, as Pind. Nem. III. Epod. 2. 



DACTYLIC RHYTHMS. 95 

./I'Aog vyujQov h ye ^ad-VTtadcp A'si^sa to y.aXlinxov (p8QSt. 

(d) Dactylicus simplex quadrupUciter trockaicus. 

«wv_v._v_^_w acatalectus. 

-^^------- catalecticus. 

The former occurs seldom, as, with a double iambic basis, 
Soph. Oed. R. 463. 

— / — / / — 

Tig ovTiv a d^eaTiimua /IsXcpig eiTZs TieiQa, 
JIqq)]z' doQTjrojv TelJaavta cpoiviaiai i^qgiv ; 
The catalectic is more frequent, as Pind. Isthm. VI. 2. 

KaXojv 87zr/coQio3v iidhoza {^viiov reov, 

Epod. 1. _^_wv._^_v.__w_ 

MvQicov hdocov ig Jloyog ittttlov. 

(2) Logaoedic scries ivitli a double daciyL 

(a) Dactylicus duplex simpUciter trochaicus. 
jv.w_v.w_v. acatalectus, 
_' V. V. _ V. w _ catalecticus, 

do not differ from the trimeter dactyl, cat. in disyll. and in 
syllabam. 

(b) Dactylicus duplex duplicltcr trochaicvs. 
_v.w_v.s._v._w acatalectus. 

_v.v._v.v._w_ catalecticus. 
The former is the versus decasyUabits Alcaicifs, so called, 
and occurs as the closing verse of the Alcaic strophe. 

Kaf rig Iri layariaiaiv olxeig. 

Virginibus puerisque canto. 



96 DACTYLIC RHYTHMS. 

Pindar does not use this rhythm, but it is found in the 
dramatists, as Eur. Rhes. 536. 



rfyrsrai, y.ai rig ttqo doficov ode y lariv aarriQ, 
With a preceding monometer troch. with an anacrusis : 

Simonides : Avo^XoXv^av niaaocpoQoig Ini did-VQciixpoig, 

As an example of the catalectic verse take Aesch. Prom. 
165. 



rivvav * ov8e Iri^ei ttqiv av ?] xoQSdrj yJaQ, 

(c) Daciylicus duplex tripliciter trochaicus, 

_v.^_^v. ^^^ acatalectus. 

_^.._^v._^_.._- catalecticus. 
The former, as Soph. Electr. J 413. 

'i2 Ttohg, (X) yevea rdXaiva, vvv ce, 
Pind. Nem. V. 2. 



'EaraoT , aXX Im ndaag oXxcidog ev r dxdtcp, yXvxei' doidd, 
the latter, Soph. Electr. 1414. 

MoiQa xad^afjieQia (fd^ivei, cpd^iver, 
Pind. Nem. VI. 7. 






Olav riv syQaipe dQafAsTv nozi atdd^i^av, 

(d) Dactylicvs duplex quadrupliciter trochaicus, 

f — 

-^^-^^-^-^-"-^ acatalectus. 

_>..._v.^_w_v. catalecticus. 

Both doubtful; the acatalectic may be considered as a 
trimeter cat. in disyll. with an ithyphallic, the catalectic as a 
trimet. cat. in disyll. with a troch. cat. tripody. 



DACTYLIC RHYTHMS. 97 

(3) Lagaoedic series with a triple dactyl, 

(a) Dactyllcus triplex simpUciter trocliaicus. 

_:v.w_v.^_w^_w acatalectus. 

_^^._ww_v.w_ catalecticus. 

They do not differ from the tetrameter dact. cat. in disyll. 
and in sjllab. 

(b) Dactyllcus triplex dupliciter trochaicus. 
/ — 
__..w_v.v._..w_v._^ acatalectus. 

_ww_v.^_^w_w_ catalecticus. 
The former is the versus Praxilleus : 

'ii dia Tojv d^vQidcov 'AaXov iu^XsTToiaa, 

Pindar does not use it, but it is found in the dramatists, as 
Soph. Ant. 134, 135. 

JivriTVTia 5' tm ya niae ravraXco&slg 

UvQqjoQog, og tors pLaivopiiva ^vv OQjxa. 

With the anacrusis it is the versus Archebuleus, which 
the Alexandrians used by the line : 



The dramatists and Pindar have the catalectic, as Aesch. 
Agam. 145. 

/ X 



/de^ia fX8v xaTdiA,oiA.q)a ds (^aaptara ^iQOvd'OJv, 
Pind. Pyth. XI. 1. 

X / x- 

KadiA-ov y.oQai, IJei^eXa ^itv 'OXvpiTtiadMv ayvidrig,. 

(4) Logaoedic series with a quadruple dactyl. 

Of these the dactylicus quadruplex dupliciter troch. acat. 
alone seems to have been in use, as Aesch. Prom. 165. 
9 



98 ANAPAESTIC RHYTHMS. 



'H TtaXdixa rin rav dvadXcorov eXrj rig aQj^dv, 
with the basis Telestes in Athen. XIV. 617. F. 



y^ yag naQd^tviav dya^iov :iai anai^ aTzevetue Klcod'co, 

B. Rising, Anapaestic Rhythms. ^ 

(1) Rational .Anapaests. 
The anapaest is the reversed dactyl ^ - -'. Belonging to 
the equal kind it shares with the dactyl in the character of 
dignity and force, bat being a rising rhythm, is more lively 
than the other (P. I. ch. 1. p. 8). But its character is 
changed according to the various modifications of which its 
measure is capable. The lyric poets commonly used the ana- 
paest in such a manner as to leave it its original form, and 
to avoid even the contraction into the spondee as far as 
possible. The Dorians made a peculiar use of the anapaes- 
tic rhythm. They used it for military marching songs (f^- 
^atiJQia), in which they permitted the contraction of the 
thesis. The tragic poets treated the anapaest in systems 
with more freedom, admitting the dactyl for the anapaest 

--^. The comic poets employed, though seldom, even the 

proceleusmatic -^^^'^. 

The caesura which happens on the thesis, would weaken 
the rhythm ; on this account anapaestic series delight in the 
masculine diaeresis (P. L ch. 11. p. 39). 

The catalexis is in syllabam alone ^-^--v.«._ww_^ ^p^ j^ ch. 
7. p. 27). 

The shortening of the long by the hiatus is permitted not 
only in the two shorts of the thesis, as Aesch. Pers. 39. 

Kcu iXEio^drai vaMv iosrai, 
Aristoph. Nub. 352. 

AvKOi i^aiq)Vf]g iysvovzo, 
but also, though more rarely, in the two shorts of the dactyl 
which stands for the anapaest, as Eur. Hec. 125. Aesch. 
Pers. 60. 



ANAPAESTIC RHYTHMS. 99 

Anapaestic series are measured partly by feet, partly by 
dipodies. The former are more rapid, and therefore rarely 
have the contraction of the thesis. 

(1) The Monopody, — Monopodia anapaestica. 



It is frequently prefixed to other rhythms as an introduc- 
tion, as Pind. Nem. VI. 5. 

r f 

Noov TIT 01 q)vaiv d&avdroig, 
Eur. Here. fur. 680. 

/ / X / 



'^Ert rdv 'HQaxXsovg xaXXinxov deiaco. 
If the anapaest stands for the trochaic basis, it is to be 
x^ 
measured as a trochee ^^-, as Arist. Ran. 1322. 

x^ / 

WW — ww«w_ (Glyconeus.) 

TleQi^alX, CO rsxvov, coXivag, 
(2) The Dipody, — Dipodia anapaestica. 



(a) The Monometer. — Manometer anapaesticus, 
w w _ w __ acatalectus. 



^ " - ^ catalecticus. 

Of dipodies, sometimes verses, sometimes systems are com- 
posed. 

The monometer is either used singly among dimeters, 
basis anapaestica^ or it occurs singly in the lyric and dra- 
matic poets, or in connection with other rhythms, as Pind. 
Olymp. XI. Epod. 6, 



100 ANAPAESTIC RHYTHMS. 

^AyCku UdtQoxXog, 
Aeschyl. Pers. 72. 



A'&aiiavtidog '^ElXag, noXvyofAxpov odiafxa t,vyov di^cpi^a- 
Icov avy^ivi novzov. 

The catalectic monometer -^-^ (Paeon tertius) is used be- 
fore other rhythms as an introduction ; a basis with an ana- 
paestic anacrusis, as Pind. Pyth. IX. 1. 



^Ed^eXco laXyidani^a Ilvdiovixav, 

(b) The Dimeter. — Dimeter anapaesticus, 

' - acatalectus. 









wv._ww_^v.__w catalecticus. 

The former is the principal element of anapaestic systems. 
It occurs, however, singly also among other rhythms, as Soph. 
Oed. R. 469, 470. 

''EvoTikog yaq in avrov msvd^QWGmi 
IIvqI koc 6T8Q07zaTg 6 /liog yevirag. 

With the arses resolved, some metrical writers have called 
it after Hephaestion, Proceleusmaticum tetrametrum Aristo- 
phaneum. 

Tig 0Q6a ^ad^vKoiia tad' eTisavto ^qozmv. 

The catalectic dimeter or the paroemiac is sometimes used 
by the line, sometimes serves as the close of anapaestic 
systems, and sometimes occurs singly among other rhythms, 
as Soph. Philoct. 1135. 

UolviJiriidvov dvdqog iqiaari, 
Pind. Pyth II. 4. 

MeXog 8())[0[iai dyyEXiav teTQaoQiag iXeXij^d^ovog, 



ANAPAESTIC RHYTHMS. 101 

(c) The Trimeter. — Trimeter anapaesticus . 

— /— — /— — / — "^ 
ow_ww_s.v._w,.-_>.w_vv._ acatalectus. 
— /— — /-- — f — 
^v,_w^_N.«_^v.-_ws._w. catalecticus. 

Instances of the former cannot with certainty be pointed 
out; the latter was used by the line, among the Spartans, as 
a marching rhythm, versus Messenicus. 

(d) The Tetrameter. — Tetrameter anapaesticus. 

w^_ww_-wv._ww_vv«w.._wv._s.^_ acatalectus. 
— / — — /— — /— — / — 
ww_ov^«ww_ww_^ ^w«v,v_w catalecticus. 

The acatalectic is found repeated by the line in the Ro- 
man comic writers. The Spartans used the catalectic by 
the line in marching songs, and the comedians, particularly 
Aristophanes, employed it very frequently. 

(3) The Tripody, — Tripodia anapaestica, 

f 
vv._vw«v.v_ acatalecta. 

/ — 
w w _ ,. w _ ^ catalectica. 

Both appear in combination with other rhythms, as Pind. 
Nem. VI. 4. 

Mtvei ovQavog, akld ti TiQogqjsQOfiev efiTiav i] iiiyav. 
Soph. Phil. 1178. 

(fj/J.cc iioi, q)ila ravta TiaQi^yystlag, eaoptt re nqaaaeiv, 
Pind. Olymp. XIII. 1. 

TQiaoXviimovUav. 

(4) The Tetrapody, — Tetrapodia anapaestica. 

ww_vw_vv-.vw- acatalecta, 
9* 



102 ANAPAESTIC RHYTHMS. 



are not distinguished from the acatalectic and catalectic 



catalectica, 
distinguished from the ; 
dimeter. 

(5) The Pentapody. — Pentapodia anapaestica, 

N.v.-.ww_^w_v.v._v.v._ acatalecta. 



catalectica. 



Very rare; for an example of the acatalectic take Arist. 
Acharn. 285. 

^\ \i\v ovv aaraXevaofieVy co fiiaQo, x8q)aXyy 

and of the catalectic, Eur. Here. fur. 1018. 

Tore [xsv Tteqiaaiiotarog xai aQiatog, 

(6) The Hexapody .—Ilexapodia anapaestica, 

^^-^^^s. s>-.v.^>-v>v_ acatalecta, 

s.^_ww_wv._v^w_vv._x. catalectica, 
are not to be distinguished from the acatalectic and the cat- 
alectic trimeter. According to Servius, the former was 
used by Stesichorus, hence called metrum Stesichorium, the 
latter by Alcman, hence called metrum Alcmanium, 

The longer anapaestic metres, which Servius mentions : 
the Simonideum, a trimeter hypercatalectic, so called, or a 
Jieptapod. c«^., the Alcmanium, a tetrameter brachyc. so called, 
or a heptapodia acat. and the Aristophanium, or the tetram. 
acat. or octapodia acat. seem to rest on erroneous divisions. 

(2) Irrational Jlnapaests, 
luogaoedic Series. 

The irrational anapaest is distinguished from the rational, 
as the irrational dactyle is from the rational, namely by the 
smaller extension, and the stronger intensity of the arsis (P. 
I. ch. 4. p. 17). It thus approaches the iambic rhythm and 
is therefore readily combined with it. Such anapaestic iam- 
bic series are called logaoedic, loyaoidcxoi. 

The cyclic anapaests, so called, are analogous to the irra- 



ANAPAESTIC RHYTHMS. 103 

tional dactyles, which do not end in trochees. They are 
not measured by dipodies, and may usually be recognized 
by the caesura. The thesis seems to be rarely contracted, 
and the substitution of the dactyle and proceleusmatic could 
not be allowed on account of the irrational arsis. 

The grammarians class also Trim, dactyl, cat, in disyll. 
with the anacrusis, which they call icpd^rnjniieqig , among the 
cyclic anapaests, either because in some poets, it might in 
reality take also the anapaestic anacrusis, or because such 
verses as 

'Eqsoo, ttoXv q)ilra'& itaiQCov, 
0iX88iv Gtvyvov 7T8Q iovta, 

where iQsco, opikieiv are to be read as dissyllables, led to the 
mistaken supposition that the verse begins with the anapaes- 
tic anacrusis. As an example of such a cyclic-anapaestic 
verse, Hephaestion cites from Archilochus: 

'EQaafxovidi] XaQilaE, 
and with a long anacrusis : 

/li^jiTjTQL re x^iQag avi^cov. 

With such lighter anapaests, the iambic and anapaestic 
logaoedic rhythms akin to them, seem very readily to have 
been intermingled. 

As an example of such cyclic anapaests, Hermann correct- 
ly cites Luc. Tragopod. 190—202, and Arist. Av. 1313— 
1322. 

Ta^v d' av nolvavoqa rav noXiv 

Kakoi tig dvd^QOJTtojv. — 

Tvxy i^ovov TTQoaeii]. — 

Kartjovoi d' sQooreg iiidg TtoXecog, — 

Qdrrov cpiquv 'Aelevco. — 

Ti yocQ avH hi tavri^ 

Kakov dvdQi [A8to(X8iv ; 

ZocpUiy Uod^og, dfA^Qoaiat XaQireg, 

To 78 r^g dyavocpQOvog Hav/^iag 

Evd(X8Q0V TlQOaCOTTOV, 

The same law which we have applied to these, holds with 
respect to the logaoedic anapaests, which in general are less 
common than the dactylic : namely, that a logaoedic series 



104 ANAPAESTIC RHYTHMS. 

cannot have more than six feet, and therefore the number of 
the anapaests is in the inverse proportion to that of the 
iambs. 

The most common are the following. 

(1) Logaoedic series with a simple anapaest, 

(a) Jlnapaesticus simplex simpliciter iambicus. 

f 
^ ^ - ^ - acatalectus. 

^^-^ catalecticus. 
The former occurs sometimes singly, as Pind. Nem. VL 
Epod. 6. 

Neiiia ds tQig, 
sometimes in combination with other rhythms, as Pind. 
Olymp. XIII. 5. 

IjQod^vQOV Iloreidavog, dyXaoHOVQOv. 
The latter is not distinguished from the Dimet, anapaest, 
catal. 

(b) Jlnapaesticus simplex dupliciter iambicus, 

vv _ v^ _ V _ acatalectus. 

/ — 
w ^ _ s. _ w catalecticus. 
Soph. Ant. 611. 

/ X 

To t STtsita xat to fislXov Kat to ttqcv iTtaQKeaei. 
Eur. Heracl. 380. 

UoXtv, dX}.' dvda)^ov. 

(c) Jlnapaesticus simplex tripliciter iambicus. 

,^w-w«w_v._ acatalectus. 

^^-^-^-- catalecticus. 

The former is found but seldom, as Aristoph. Thesm. 312. 

Jexoiiead^a koi dmv yevog^ 



ANAPAESTIC RHYTHMS. 105 

the latter more frequently, as Aesch. Agam. 691, 692. 
nQoxaXv[j.}j.dTCx)v mXevas 
ZecpvQov yiyavTog avQa. 

Such a verse must not be confounded with an Anacreontic. 

(d) Anapaesticus simplex quadrupliciter iambicus. 

w.._w_v._v._«_ acatalectus. 

/ — 

^^-^-^-^-^ catalecticus. 
The former seems not to occur; the latter is found, as 
Find. Olymp. IV. 9. 

XaQLZcov txan zovde xoofxov, 

(2) Logaoedic series with double anapaest, 

(a) Anapaesticus duplex simpliciter iambicus. 

^^-^^-^- acatalectus. 

/ — 
^ w _ ^ w _ V- catalecticus. 

The former, as Find. Olymp. IX. I. 

To 118V '^Q)[iX6)^ov ixiXog* 
Eur. Ion. 468. 

^Ixsrevaate d\ co xoQai, 
The latter is not distinguished from the Tripodia anap. cat. 

(b) Anayaesticus duplex dupliciter Iambicus. 

/ 
w^_vw-v_v._ acatalectus. 

vw-ww_v._s. catalecticus. 
Eur. Electr. 586. 

KareXaixxpag, edet^ag ifAq)avfj, 
Aesch. From. 548. 

'OXiyodQavtav axixvv. 
Find. Fyth. X. 6. 

'^yayetv imxcoiiiav dvdQcSv yXvtdv ma. 



106 ANAPAESTIC RHYTHMS. 

(c) Anapaesticus duplex tripliciter iambicus, 

^^-^^-^-^-^- acatalectus. 

^v._v.>._u-.^-v. catalecticus. 
Eur. Ion. 1447. 

2^vv8KVQ<j ddoxTjTog ri8ovd ; Tiod^ev. 
Pind. Isthm. VL 1. 

TivL rojv TzaQog, co iidxaiQcc Qrj^a, 

(d) Anapaesticus duplex quadrupliciter iambicus. 
t 
^^-^•'-^-^-^ acatalectus. 

ov-_ww_v.-.v.__v..^. catalecticus. 

The catalectic only appears to have been used, as Aesch. 
Prom. 546. 

Tig iq)afieQicov dQrj^ig ; ovd' i8eQ)[d'fjg, 
Pind. Fragm. Hyporch. 2. 

"0^ dfia^ocpoQTjtov ohov ov ninarau 

(3) Logaoedic series with triple anapaest, 

(a) Jlnapaesticus triplex simpliciter iambicus. 

wv_v^_^s._s^-. acatalectus. 

/ — 

^^-^^-^^-^ catalecticus. 
Lucian used the acatalectic mingled with the catalectic, 
Tragopod. v. 87. sqq. Once, in a proper name, he has a 
spondee in the catalectic verse : 

MoLQa KXcod^co rot' 'iXovaev. 
Elsewhere the acatalectic verse is also found singly, as 
Arist. Thesm. 367. 

^Aae^ova\ ddixovai re rrjv nokiv. 

The catalectic verse is not distinguished from the tetrara. 
anap. catal. 



ANAPAESTIC RHYTHMS. 107 

(b) Anapaesticus triplex dupliciter iamhicus. 

/ 
w^_w^__wv._^._w__ acatalectus. 

/ — 

wv._s.s._^v. s. catalecticus. 

Arist. Ay. 451. 

/JoXsQov 118V dec xara ndvra di) tqottov. 
Soph. Ant. 356, 357. 

^OQydg ididd^aro aac dvaavlcov. 

Uoze iih Tiaxov, allot In iax^^lov tQuei. 

(4) Logaoedic series with quadjmple anapaest, 

(a) Anapaesticus quadrnplex simpliciter iamhicus. 



acatalectus. 
catalecticus. 



Soph. Trach. 842. 

Meydlav TZQOGOQOjaa dofAOtai ^Id^av vtcov. 
Aesch. Prom. 558. 

'lorari ydfAcov, ore rdv oiiondrQiov. 
The catalectic is not to be distinguished from the Penta- 
podia anap. cat. 

(b) Anapaesticus quadruplex dupliciter iamhicus. 
ww_^v^_w^_w.._v._v._ acatalectus. 

x.v._s.^_w.._w^_v._w catalecticus. 

The catalectic verse is the Versus Archebuleus v/ith the 
dissyllabic anacrusis, see p. 97, as, 

'^yetco d^f-og, ov ydq f/^oj drj^a rcavd' defdetv ' 



108 CRETIC RHYTHMS. 



CHAPTER III. 

RHYTHMS, WHOSE GROUND FOOT IS FIVE-TIMED. THE ONE 

AND A HALF OR FAEONIC KIND. 

A. Falling, Cretic Rhythms. 

(a) Cretics loith rational thesis. 
The cretic consists of five times, which are proportioned 
to each other, as 3 : 2. The subordinate relation of the ar- 
sis is the trochaic, 2:1; that of the thesis, dactylic, 1:1; 
hence the foot takes the following forms : 

a : 3 = t : 2 



a:2 = t:l a:l=:t:l. 

The following contractions are accordingly allowed : - - _ 

Creticus, - ^ - - Paeon primus. ^ - - - Paeon quartus. (P. 1. 
ch. 5. p. 21). 

The cretic is the appropriate measure of Paeans; it is 
besides sometimes employed in tragedy, especially by Aes- 
chylus, and particularly in poems in the Phrygian mood, of 
a wild, enthusiastic character. The cretic rhythm is, how- 
ever, chiefly used in comedy, especially in the resolved forms. 

As the foot has a masculine ending, it is more inclined to 
the diaeresis than to the caesura (P. I. ch. 11. p. 40). The 
acatalexis is common. The catalexis is merely in disyllabum 

^ ; for that in syllabam is transformed into the trochaic 

dipody - - - - , which is frequently appended as a sort of close 
to cretic rhythms. This trochaic closing rhythm is also 
frequently lengthened : 



If the cretic is resolved, sometimes one, sometimes the 
other form predominates : 



CRETIC RHYTHMS. 109 



' - fourth paeons. 



_^^».s.__o^w_-ws._wvv £j.st paeons. 

An anacrusis or basis, trochaic as well as iambic, may be 
prefixed to the cretic rhythms. The iambic basis is the 
more frequent. 

The Romans used the middle time in the thesis of the 
cretic ; but they liked to conceal the long in this place by 
the pronunciation, and never permitted its resolution. Hence 
the choriamb cannot stand for the cretic. 

The most common measures are the followinoj : 



(1) The Monopody or the Manometer, — Monometer creticus^ 



It occurs sometimes singly, as Soph. Elec. 507. 
Tads yii, 
and so also sometimes in the systems among dimeters. 

It is very frequently combined with other rhythms, and 
then stands either at the beginning, in the middle, or at the 
end, as Pind. Olymp. II. Epod. 3. 



XQovog 6 Ttdvrcov narriQ dvvairo '&s[isv sgycov riXog, 
Pind. Olymp. V. 3. 



l^'AafjiavroTTodog x anrivag dsxsv Waviiiog re dooQa, 
Aeschyl. Choeph. 605. 



Tav d 7taidolv(xag rdlaiva Qeandg [xi^Garo, 

With the anacrusis ^--- it is not distinguished from the 
iambic dipody. 

With the trochaic basis, the cretic resembles either the 
trochaic catalectic tripody, -----, or the dochmius, - - -' - -. 
Sometimes the basis is found with the anacrusis prefixed (an 
apparent dochmius with the anacrusis), as Soph. Elec. 171. 
10 



110 



CRETIC RHYTHMS. 



X / 



With the iambic basis prefixed, the cretic gives the dochmius 

r r 

The composition of the dochmius is indeed arrhythmic, on 
account of the coincidence of the arses, but the parts them- 
selves are rhythmical. We speak here only of the pure 
dochmius, as it is given in the above scheme, in which the 
iamb never appears as a spondee, and the thesis of the cretic 
never takes the middle time. Thus Pindar used it Vi^ith 
kindred rhythms, or by itself; he never repeats it. He has 
by preference only the following forms : 



Pyth. V. 6. 



2>v rot vvv xlvrag. 



Olymp. I. Epod. 7. 



/l6daidal[A8voi \pevdsai nomiloig i^aTZarwvn iivd^oi. 



Pyth. VII. 7. 
Olymp. I. 2. 



'EmcpavsatSQov, 
^Ars SiaTZQmu vvxzi fxeydvoQog e^oxcc TtXovrov. 



Pyth. V. 4. 



TloXvqjiXov mhav. 



Pyth. V. Epod. 1. 



The dramatists use the dochmius with irrational theses, 
which will be considered hereafter. 



CRETIC RHYTHMS. Ill 

(2) The Dipody or the Dimeter, — Dimeter creticus, 

- ^ — ^ - acatalectus. 

— ^ — ^ catalecticiis. 

The acatalectic dimeter is the principal element of cretic 
systems. But it also occurs singly, and in combination with 
other rhythms, as Arist. Pac. 1127. 
'^Hdoixai y tjdofxat. 

SopL Trach. 205. 

'^voXoXv^are dofioig, 

Aesch. Agam. 238. 

/ / / 

Bia )[aXivoov r dvavdcp iiivei. 
Find. Olymp. II! 4. 

Find. Olymp. V. Epod. 2. 

X / / / / - 



Nr/.daaig dvtd^r^xEy y.ai ov nartQ 'Akqojv ixaQv^e xai rdv 
^eoiKOV 'idqav. 

The Latin comic writers sometimes use a dimeter among 
tetrameters, as Flaut. Capt. XL 1, 17. 

Unum exorare vos sinite nos : — quidnam id est? 

Ut sine his arbitris 

Atque a vobis nos detis loquendi locum. 

Trochaic closes are frequently appended to the dimeter : 



Flaut. Most. III. 2. 1. 

Melius anno hoc milii non fuit domi. 
Aeschyl. Agam. 224. 

/ / / / / 

nocoroTzi^fxcov. erXa d' ovv d^vrriQ yEviad^ai d^vyarQog yv- 
vaiKOTTOivcov TtoXeiicov UQcoydv. 



112 CRETIC RHYTHMS. 

The dimeter often receives the anacrusis : 

and therefore resembles a monometer iambicus with a cretic, 
as Aesch. Choeph. 436, 437. 

Exart fisv daifxovcor, 

Arist. Pac. 1128 sqq. 

Kqdvovg aTirjlXayfjisvng 
TvQov re y,ai xQOfiiivcov, 
Ov ydq q)ih]8oi iid^aig. 

With the iambic basis it is like the dochmius with a fol- 
lowing cretic : 

as Aesch. Agam. 1081. 

"'Ayvidr dnoXlcov ifJLog. 
The catalectic dimeter is more unusual, as Pind. Pyth. IX. 2. 



2Jvv ^ad^v^covoiacv dyyeXXcov 
Aristoph. Lys. 783. 

Avtog m Tzaig oiv. 
It is sometimes also found with the anacrusis, as Soph. 
Elec. 504 sqq. 

^a niXoTtog d TtQoad^ev 
TIoXvTtovog iTiTzeia, 
'iig 'i^ioXeg aiavrj 
Tabs yd, 

Evre ydq 6 novnad^elg 
MvQTiXog ixoifidd^t] • 

Arist. Lys. 787. 

Kdv zoig oQeaiv (^aei. 



CRETIC RHYTHMS. 113 



(3) The Tripody or the Trimeter, — Trimeter creticus. 

f / r "^ 

_v — s. — ^_ acatalectus. 



-s. — V. — w catalecticus. 

The former is often found singly, as Aesch. Suppl. 428. 
M^ri ti rlrig rav ixenv eiaiduv, 
also in the Roman dramatic poets, as Plaut. Rud. III. 4, 61. 

Heus, Palaestra ! — obsecro, qui vocat ? — 
Ampelisca, heiis ! — quis est, qui vocat ? 

It receives also the anacrusis : 



a monometer iamhicus with a cretic dimeter, as Pind. Pyth. 
V. 9. 

EKart iQvaaQiidrov KdatoQog, 
and the iambic basis ; 



a dochmius with a cretic dimeter, as Aesch. Agam. 1118. 
KaroXolv^droj d^v^iarog Xevai^ov. 
Trochaic prolongations are likewise frequent, as Aesch. 
Eum. 323. 



Klvd^ , Aarovg yccQ hig f/ dn[xov rid^^ai, 
Aesch. Agam. 180. 



Mvp^<yl7Tr|[Ji03v novog, xal naq dxovrag rfkd^e (ycoq)QOPeTv. 
The catalectic trimeter occurs more rarely, as Aesch. 
Agam. 1142. 

N6[a,ov dvo[xor, old tig ^ovd^d. 
If the verse takes an anacrusis, and the anacrusis appears 
as a long, there results an apparent trimeter palimbacchius : 



2oi, 001^8, Movaai ts, avfx^ojfxev. 
10* 



114 CRETIC RHYTHMS. 

The catalectic trimeter also sometimes occurs in the Ro- 
man comic writers, as Plaut. Rud. IV. 3. 10. 
Te mihi non fore infidum. 

(4) The Tetrapody or the Tetrameter. — Tetrameter creticus, 
/ / / / ^ 
-^ — ^ — ^ — v._ acatalectus. 



ws> vwv 



• ^ catalecticus. 



The acatalectic tetrameter was often used by the Greek 
comic poets, as Arist. Vesp. 419. 

Kel rig alXog TTQoearrjxev vfi^v mXa^. 
Arist. Georg. in Hephaestion : 

'Ev ayoqa d' av TiXaravov ev diacpvrevaofiev, 
Arist. Acharn. 976. 

Avroixara Ttdvz dyad^a rcpds ys noqi^erai. 
The Roman tragic and comic poets also have the tetrame- 
ter very frequently, as Ennius in Cic. Tusc. Quaest. III. 19. 

Quid petam praesidi aut exsequar? quove nunc 

Auxilio exili aut fugae freta sim ? 

Arce et urbe orba sum, quo dccidam ? quo applicem ? 

Plaut. Rud. I. 3. 31. 

Hoc quod induta sum, summae opes oppido. 
Nee cibum, nee locum tecta quo sim, scio. 

It occurs with the anacrusis in Pindar and the tragedians: 



a manometer iamb, with a cretic trimeter, Pind. Olymp. II. 5. 

Gr/Qcova ds TetQaoQiag 8V8xa nxaipoQOV, 
Soph. Elec. 1419. 

TeXova uQat' ^ooaip at ydg vnai y.ei(xevoi, 
with a preceding iamb, Pind. Olymp. II. 2. 



' 5 r/ 



Tiva d^eov, riV TiQcoa, riva d' dvdqa 'A8Xadi^60[j.ev ; 
The comic poets have likewise the catalectic, as Arist. Lys. 
792. 



CRETIC RHYTHMS. 115 

KovyJn yiar^Xd^e nahv oiKad' vno fiiaovg, 
Plaut. Trin. II. 1. 17. 

Dk mihi hoc mel meum, si me amas, si audis. 
With the anacrusis it occurs in Find. Olymp. II. Epod. 4. 



(5) The Pentapody or the Pentameter. — Pentameter creticus. 
/ / / / / ^ 
-^ — ^ — ^ — ^ — ^- acatalectus. 






-^ — ^ — ^ — N.-~s. catalecticus. 

The former is sometimes used by the line in the Alexan- 
drian writers, sometimes singly by the comic poets, as Arist. 
Ach. 972. 

01' 8/ St CTteiadfxevog i^TtOQixd '^qrniara dtefXTtoXdv. 
Theopompus especially is said to have used it, hence versus 
Theopompeus, as, 

ndvT dyad^d d?) ysyovEv dv^qdaiv ifxrjg dno avvovaiag. 
Among the lyric poets Bacchylides used it by the line. 

The catalectic pentameter seems not to have been in use. 

(6) The Hexapody or the Hexameter, — Hexameter creticus. 

-^ — ^ — ^ — ^ — ^ — -- acatalectus. 

/ / / / / / — 

-^ — ^ — ^ — ^ — *" catalecticus. 

The former is said to have been used by Bacchylides, 
hence metrum Bacchylideum, but the verses cited by Dionys. 
Hal. seem rather to form a cretic system. See below. 

The comic poets have the hexameter, as Arist. Acharn. 
210,211. 

'EK7T8q:8vy\ 0i)[8rat cfQOvdog. oi'fxoi rdlag toov izcav t(Sv 



116 CRETIC RHYTHMS. 

O^K av lit ifx^g ye vsozrirogy 6V f/oa q)8Qcov avd^Qaxo^v 

CpOQtlOV, 

It is found with the anacrusis, Arist. Aves 410. 

Tv)^7] ds Ttola no(A>iXsi TTor avrcx) TZQog oQVid'ag iXd^eiv ; 

— eQa)g 
Biov diaitT^g rs Kal aov ^vvotxeTv re aoi y,ai ^vveTvat 

ro TTciv, 

The catalectic hexameter, according to Hephaestion, was 
used by Alcman, hence Versus Alcmanius. 

'L4q)Qodita fiev ovk eati, iiaqyog 5' '^EQcog, oia Ttaig, Ttatadei, 
'^^KQ en avd^Tj Ka^aivoor, a iiri iioi d^iyrig t^ KVTtaiQiaKcp, 

(b) Cretics loith the irrational thesis. 

The Greek tragedians, and after them the older comic 
writers, allowed themselves, particularly in those choral songs, 
in which the greatest distraction of feeling or the deepest 
sorrow prevails, certain licenses as to measure, which do not 
occur in the Dorian lyric poetry. With this less strict ob- 
servance of the lyrical laws {d^cofialia) there probably was 
also connected a great freedom in the singing and the musi- 
cal accompaniment, and this delivery, like the modern reci- 
tative, is called by Aristotle (Prob. IX. 6.) TraQaycataloyy, 
The inventor of it according to Plutarch (de Mus. 1141. A.) 
was Archilochus. 

The cretic, in this paracataloge, might also take the 
middle time, especially in certain combinations : 



hence we will call it the irrational cretic. 

It most frequently appears with the iamb prefixed as a 
dochmius : 

In this measure, all the longs, except the two irrational ones, 
can be resolved. If the dochmius does not close the system 
or the rhythmical series, then two shorts may also be put for 
the last long; at the close, only the long or the short stands. 
The shortening of a long by the hiatus takes place in the 
dochmius, only in the two shorts, which stand for the first 
arsis, as. 



CRETIC RHYTHMS. 117 

The dochmius has thirty-two different forms, all of which, 
however, are not equally in use. 



/ / 



1 . ixed^eirai ctQarog. Aesch. Sept. 79. 

2, w «^ s. - - _ arQatonedov Xltzcov. Aesch. Sept. 79. 

3 .. _ V. w w _ av r' CO JioyEftg. Aesch. Sept. 128. 

4, ^^^www_ liysxi [/ on rd^og. Soph. Ant. 1323. 

5. ^ - (SiAOi iioi, rdd' ovx. Soph. Ant. 1317. 

6, -ww_w». dovXoavvag V7T8Q. Aesch. Sept. 112. 

7. v^w_ 'Vyxa 7TQ0 TToXecog, Aesch. Sept. 164. 

8. - ^ ^ ^ ^ ^ - Q8i TtoXvg ode lecog, Aesch. Sept. 80. 

9. ^ tea Svatavog. Soph. Ant. 850. 

10. ^ ^ ^ dvoaicov dvdQ(av, Aesch. Sept. 566. 

11. ^-^^ 

12. ^ ^ V. ^ w — dd^d'Vatog dnQoopdaiarog, Eur. Bacch. 1003. 

13. 'iid^eig 'AtQetdag, Soph. Phil. 511. 

14. - ^ ^ ;r^o^ rtvog dvd^QMTiMv, Eur. Hec. 696. 

15. 



5 \ 



16. - ^ ^ ^ ^ — dXiivQov mt TTovrov, Eur. Hipp. 1273. 

The following forms can only be used when they occur 
in combination with other rhythms. 



/ / /^ 



17. ^ — ^ ^ ^ noXixaig mad^ov. Aesch. Eum. 790. 



118 



CRETIC RHYTHMS. 



rsf f 



18. ^^v._^^v anay^x Imomov, Soph. Oed. R. 1340. 

19. ^-^^^^^ rQ^^og tot aqoL tore. Soph. Ant. 1273. 

20. vvvwwv^v^ ^Q^ aiia^ov anoXeiiov. Aesch. Agam. 769. 
21. ... 

22. - ^ ^ - ^ ^ ^ To/^ 'AaraQatozatov. Soph. Oed. R. 1345. 

23. — vv. w ^ V. ^^^ q^y^g . acparov acpa - rov, Eur. Ion. 782. 

24. -v-^-vw^^ <y^^ TtaQog hi laQirog, Soph. Elec, 1266. 

25. ^ *" ^ ^OQsarav T7]Xvy8 - rov. Eur. Iph. T. 827. 

26. ^ ^ ^ — ^ ^ or£ rf ovQiyyeg e-xlay^av. Aesch. Sept. 205. 



/ /r^ 



27. ._.._.. 

28. ^^^^-^^--^v^ ygVo? ayovov avriKa, Eur. Here. fur. 886. 



/ / 



29. ■-- 

30. _.. — .. 

31. — .._.. 

fry /^ 

32. -V....V. 

The forms with the long thesis of the cretic occur most 
frequently in the commatic songs of tragedy. The most 
common are the forms 1^ 2, 4, 5, 6, 9, 10, 12, 14. The 
forms 11, 15, 27 and 31 were not in use. Of the forms 21, 
29, 30 and 32, no certain examples can be pointed out. 

The dochmii were sometimes repeated as a system, some- 
times they occur in combination with other rhythms. 

As the dochmius begins with a thesis, those rhythms, 
properly speaking, can only precede it, which close with the 
arsis, as an iamb : 



CRETIC RHYTHMS. 119 



Aesch. Sept. 78, 166. 

^/oa TtavaXxeig d^eoL 
Eur. Phoen. 1287, 1288. 






'^EXsog sXeog eiioXs [xarsgog deiXaiag, 
/didviia rsxea TZorsQog aQa noteQOv aliid^H. 
An iambic dimeter: Aesch. Agam. 1100. 

jTw TioTtoi ri TTore fxrjdsTai ; 
and longer iambic series, as Aesch. Eum. 778. 

'/oa i9^£oJ vecozeQoi nalaiovg vo^ovg. 
If a dactyl precedes a dochmius, it is to be measured as an 
iamb, as Aesch. Sept. 222. 

r^/ In, t 

^Amoii^vov tivqI datcp. 
In the same manner it is often preceded by one or several 
cretics, as Eur. Hipp. 366. Here. fur. 910. 

f2 rakaiva rcovd' dXymiv. 
lAvay<aXeTg rcva [xe tiva ^odv ; 
Aesch. Eum. 268. 

^vriTToivovg rivrig ^r]tQoq)ovag dvag. 
Catalectic trochaic series, too, occur, as Eur. Orest. 140. 



^T/a aiya, XeTirov 'lyvog aQ^vXrjg, 
finally, choriambic, anapaestic and catalectic dactylic rhythms. 
Series, which end with the thesis, can then only precede the 
dochmius, if the poet wishes on purpose to produce a soft 
arrhythmy. Those cases, however, are rare, and the verse 
usually appears, by another measurement, as eurhythmic, 
as Aesch. Sept. 235, 241. 



120 CRETIC RHYTHMS. 

_vwww_w-. tetrapod. Iroch. cat. 

not -wv...w_w_ dochmius with trochee preceding. 

Tig rdds vsiieaig crvyeL 
Tifiiov tdog lyioiiav. 

As little does in Aesch. Pers. 268, 274, an amphibrach 
precede a dochmius, if the verses are thus divided: 



— .^/ / 



atQ, ^OtoToroT, iidxav ra noXld 

Belea Traiiixiyrj. 
dvr, ^OtotoroT, cpilcov dXidova 

^Jcofjiara Tiolv^acpT], 

The genus Alcmanium, so called, consisting of a doch- 
mius, preceded by a monometer troch. with an anacrusis, 
seems for the most part to rest upon an erroneous mea- 
surement, as Aesch. Agam. 238, not 



but -----w — s._ trimet. cret. with anacr. 

JBia /a^.f^co^ t dvavdcp iitvei, 
so likewise Agam. 378. Aesch. Prom. 580, the poet seems 
to have purposely allowed the asynartetic coincidence of 
two theses : 

OlarQrjldtcp ds deiixati deilatav. 
Other rhythms also may follow the dochmius. Cretics 
are very frequently attached to it, as Eur. Bacch. 1153. 

'^va^odaoofxev ^viJ,q)OQdv, 
or trochaic series, as Aesch. Sept. 566. 

The hypercatalectic dochmii, so called, are trochaic series, 
with a preceding iamb : 



CRETIC RHYTHMS. 121 

w — V. - V. Dipodia troch. acat. 
which very frequently forms the close of dochmiac systems. 
The second thesis is never allowed to be irrational. Eur^. 
Here. fur. 879. Aesch. Sept. 421. Suppl. 751. 

XoQ8V\}^VT dvavXoig, 
'OXofxtvcov Idead^ai. 
Avadyvoig qjQsoh, y.oQaxeg coare, ^coficov dXsyovteg ovder^ 
■— / / 
^ ^ - - - Tripodia troch. cat. 

Eur. Troad. 560. 

Aoyov ^ i^8[^(uv ''Aqrig, 
— f f — 

^ Tripodia troch. acat. 

Aesch. Pers. 575. 

Boar IV rakaivav av8dv. 

^ Tetrapodia troch. cat. 

Aesch. Sept. 737. 

MeXafjiTTayeg alfxa cpoiviov. 

Through such systems joined to, or mixed with, dochmii, 
the shorts can be explained, which often appear to precede 
or follow the dochmii. According to Hermann (Elem. p. 
278 sqq., Epit. §268) the essence of paracataloge consisted 
in this. 

Of such shorts there are either two, as Eur. Phoen. 104. 

XeIq dno xXiixd'AOdv - Ttodog - i][vog mavrtXXmv, 

It seems here that nodog should be connected with what 
follows, so that the short dochmiac system closes with two 
cretics, of which the latter is irrational : 

IJodog 'lyvog mavriXXcov. 
In like manner Eur. Hel. 690. 

'Ayafxog, drexvog, w ttogi, xara^revei 
Pufxov dyufiov aiayvva, 
Eur. Bacch. 1164, 1165. 
11 



122 CRETIC RHYTHMS. 

KaXog dyojVy iv at- 
fjiari (yrd^ovaav - x^Qa - neQi^akuv rtxt'ov, 
which ought to be measured thus : 

Kakov dyojf, iv aiiiaxi ard^ovGav 2 dochmii. 
XeQa TTEQi^aluv tsxvov, Dimet. cret. 

Or three shorts, which are to be considered as a resolved 
iamb. 

Or four shorts, as Eur. Orest. 171, 192. 

Hdliv dvd ' Ttoda aov slXi^eig, 
MtXeov d - 7t6q)Ovov aliia dovg. 
The passage, however, is thus to be divided : 

----^-- — Dimeter troch. 

v^v^wwo^ dochm. 



_ ^ - w .. V. _ V. _ cretic. irrat., dochm. 

CTQ. OVX d(f '^fAMV, OVX du OIXOJV 

ndXiv dvd Ttoda aov 
EiXi^sig, fA.8d^spi8va htvtzov ; 
dvt, "E^sd^va" 6 0oT^og ruidg 
BIsXeov dnocpovov 
Alfia dovg 7zarQoq)6vov [xatQog, 
Eur. Elec. 1149, 1157. 

Tors fxsv iv XovTQoTg - sTteaev i - ^og if^og dQ^srag, 
MsXeov a Tioaiv - XQoviov I - xofiEvov elg ol'xovg. 
It is better here to close with the dochmius : 
'^ETieasv i^iog i^iog. 
Xqovlov ixofxevov. 
one system, and begin with the irrational cretic : 

r — 

^^Q)[sragf 

Elg o'lxovg, "" 

a new system. 

The verses Soph. Oed. Col. 1447, 1462. 



CRETIC RHYTHMS. 123 



are to be measured by iambs: 



in like manner Eur. Orest. 1253, 1254 ; 1273, 1274 

Ti dt fAS rods XQ^og dnvtig, 

'^EvvETii [xoi, cpila. (dochm.) 
'^Acpo^og f/g • y^pvog, co q)iXa, 
^ti^og^ ov ov doytecg. 

The verses Aesch. Agam. 1407, 1426, where four shorts 
seem to stand between two dochmii : 

Ti xaxov, CO yvvat, 
Xd^ovorQ8(f)h - idavov rj notov, 
MeyaXofAr^Tig eJ, 

IleQLcpQOva ' d' eXaxeg, cogTzeQ ovv. 
are thus to be measured as follows : 



Ti xaxov, CO yvvai, id^ovorqecplg Idavov 
'H Tzorov 7ia(ja[jJva Qvrdg f | dXog oQOfievov. 
MeyaX6(^r]zig eJy TZEQicpQOva d' sXaxeg, 
''S2a7iEo ovv cpovoXi^Ei Tvict qjQTiv iTiiiiaivErai. 
Five shorts are a resolved cretic. 

The irrational cretic is sometimes preceded by an ana- 
paest, instead of an iamb, the shorts of which, however, are 
never allowed to be contracted; a dochmius with a disj'ilabic 
anacrusis : 



as Soph. Oed. Col. 117; 149. 

Tig ciQ r/v ; ttov vaiei ; 

'Alaojv OfAfxdrcov. 

Such a dochmius, however, is often so in appearance only, 
as Aesch. Sept. 122. 



124 CRETIC RHYTHMS. 

Pevvcov iTtTzemv, 
Ear. Here. fur. 878. 

Mavlaiaiv Avaaag, 

where yevvmv is to be read as two syllables, and fiaviaiaiv as 
three. 

The resolution of the middle time of the cretic is not per- 
mitted ; hence rhythms, as Aesch. Suppl. 349, 361. 

'^Ids fxe rav Ixeriv, 
JEv ds TtaQ o^fJtyovov, 

are not to be considered dochmii, but are thus to be mea- 
sured : 

V. V. w _ V. w __ iamb with choriamb. 
The irrational cretic sometimes occurs, without the pre- 
ceding iamb or anapaest, before or after dochmii, as Eur. 
Orest. 168 ; 189. 



Qojv^aa' s^aXeg i^ vnvov, 
Ovdl yccQ Tzo^ov 8)[8i ^oQcig. 

If an anacrusis, or a trochaic basis with the anacrusis, is 
prefixed to the irrational cretic, rhythms seemingly iambic 
are formed, in which the middle time is everywhere admissi- 
ble, the iambi ischiorrJiogici, so called by Hermann : 



-X - /- 

Soph. Elec. 1238, 1239 ; 1260, 1261. 

Tav alev ddjAfjtav, 
Tig ovv av aiiav 
Fa 60V Tiecprivotog. 

The irrational cretic may also be repeated : 
/ — / -- ^ 

a dochmius with the arsis, so called, as Eur. Phoen. 320,321. 
'H nod^Hvog (piloig, 
'^H Tiod^eivog Qq^aig, 



BACCHIC RHYTHMS. 125 

Soph. Trach. 846—848 ; 857—859. 
'^H 7Z0V oXoa crivsi, 
"H 7Z0V ddiv^v x^coQav 
Tsyyet daxQvcov (i'pav, 
^ rors d^ouv vvfiq)av 

Tdvd' Olxakiag cci'^jia. 

Such a dimeter occurs also in the catalectic form, as, with 
the anacrusis : 



Soph. Elec. 510—515. 

Avardvoig aixtaig 
IlQOQQi^og i'AQicpd^slg^ 
Ov ri 7TC0 

'^EXtTzev i'4 rovd' oixov 
UoXvTTOvog aixia. 

The Romans used the dochmius rarely or never. With 
them the bacchic rhythm supplied its place. Hermann 
thought he had found dochraii in Plautus, as Menaechm. V. 
6, 9. 

Verbera, compedes, 
Molae, magna lassitudo, fames. 

B. Bacchic Rhythms. 

The bacchius, like the cretic, consists of five times, which 
are in the relation of 3 :2. The subordinate relation of the 
principal arsis is iambic, rising therefore, while the principal 
relation is falling, and in this contrast lies the arrhythray of 
the bacchius : 

a : 3 = t : 2 



t:l = a:2 
11* 



a:l = t:2 



126 BACCHIC RHYTHMS. 

/ / 

The following forms, therefore, are possible : >---^- - — 

wv.w_ ^_s.w^ In the closing foot a short may stand for the 
last long. 

The Greeks rejected altogether, with the exception of a few 
passages in tragedy, the bacchic rhythm on account of its 
arrhythmy. Wherever it does occur, it is for the most part 
apparently only, as Pind. Olymp. I. Epod. 4, which verse is 
not to be measured : 

w — V. — oo_w_w__..w_w Dimet. bacch., anap., log. dactyl. 

log. 
/ / / / 

but ^ — " — v...-^_^_v.w_o Dochm., dact. log. acat., dact. 

log. acat. 
Uoasidav, met viv 'Aad^aqov X^^ijrog e^els KXcx)d^oj, 

A single bacchius often seems to be prefixed to other rhythms 
as an introduction. Such a bacchius is the trochaic basis 

X 

with the anacrusis: ^ — ; see above, p. 61. 

The monometer occurs sometimes between iambic trime- 
ters, as Soph. Oed. R. 1468, 1471, 1475. 

Ti (prjiii ; 

Oed. Col. 318, 1271. In like manner the dimeter Arist. 
Ach. 735. 

These words are, however, to be considered as a kind of 
imcpx^syfjianxd, which are not bound by any definite rhythm. 

The following verses seem to be real bacchii ; Rhes. 705 
sqq. ^ ^ 

H. /JoxaTg yaQ ; 

H. Ti fiTjv ov ; 
H. Qqaavg yovv eg ruiag. 
H. Tig ; dlx7]v riv aivelg ; 
H. 'Odvoo^. 

The tetrameter is most frequent. Hephaestion quotes as 
an example : 



BACCHIC RHYTHMS. 127 

'0 ravQog 5' ioixev xvQi^eiv rtv ccQ^dv, 

(pd^daavtog 8' in eQyoig 7TQom]d]^a£Tat viv. 
Similar is the verse in Aesch. Prom. 115. 

Tig d^co, rig odfid TtQoginra [x dcpeyyrig ; 
Aesch. Eum. 789. 

^tevd'Qo:) ; xi qs^co ; ysvcofxat ; dvaoiara. 
and the verse in Dion. Hal. de Comp. p. 132. 

Tiv dxtdv, Tiv vXav dodixco ; ttoI TzoQevd^oj ; 
The Romans made frequent use of the bacchius, both in 
tragedy and comedy. It supplies in some degree the place 
of the dochmius, which it resembles very much on account 
of its disharmonic character, with this difference, that although 
the dochmius is arrhythmic in its composition, it is altogether 
eurhythmic in its parts, while the bacchius is wholly ar- 
rhythmic. Thus it serves in tragedy, as the dochmius with 
the Greeks, for the expression of the highest passion, despair 
and grief, and in comedy it indicates, in a comical manner, 
sadness, haste, confusion. It occurs, however, in cantica 
alone, never in the dialogue. 

The poets have taken many liberties in the treatment of 
the bacchius. The arses are frequently resolved, and, there- 
by, the violent character of the rhythm is even heightened. 
The short is middle timed ; it can, therefore, be changed 
into a long, and this again, according to the license of the 
older Roman poets, be resolved into two shorts. Thus, the 
following form arises : 

— f f — f f 

^ — , at the end : - — 

Plautus sometimes treats the verse as asynartete. Bacchic 
verses, moreover, delight in diaereses. The tetrameter has 
usually a principal diaeresis, which, however, is frequently 
neglected. The catalexis is in disyllabum only. 

The following measures are in use : 

(1) The Dipody or the Dimeter. — Dimeter hacchiacus. 
^ — ^ — acatalectus. 



- catalecticus. 



128 BACCHIC RHYTHMS. 

The acatalectic dimeter appears sometimes to be repeated 
by systems ; but it commonly occurs intermingled with te- 
trameters, as Plant. Capt. III. 2, 6. Rud. I. 5, 6. 

Lassism reddiderunt. 
Puellae sed unde. 

The cataleclic resembles the dochmius. It occurs singly 
among tetrameters and other rhythms, as Plaut. Capt. III. 
3; I. 9, 10 (according to Hermann's emendation). 

Quid est suavius. 
Mihi syngraphiim, 
Datur mi, illico. 

(2) The Tretrapody or the Tetrameter, — Tetrameter hac- 

chiacus. 



acatalectus. 



^ — ^ — ^ catalecticus. 

The former occurs very frequently, partly repeated several 
times, as Ennius Hect. Lustr. 

Quid hoc hie clamoris? quid hoc hie tumulti est? 
Nomen qui usurpat meum ? quid in castris strepiti est? 

partly singly among cretic, iambic, trochaic and anapaestic 
rhythms. 

The catalectic occurs in Plautus joined with the acatalec- 
tic in distichs, Menaechm. V. 6. 

Spectamen bono servo id est, qui rem herilem 

Procurat, videt, collocat, cogitat, 
Ut absente hero suo rem heri diligenter 

Tutttur, quam si ipse assit, aut rectius. 
Tergum, quam guldm, crura, quam ventrem, oportet 

Potiora esse, quoi cor modeste situmst. 



CHORIAMBIC RHYTHMS. 129 



CHAPTER IV. 

RHYTHxMS THE GROUND FOOT OF WHICH IS SIX-TIMED. THE 
CHORIAMBIC-IONIC KIND. 

A. Falling Rhythms. 

(a) Choriambs, 

The choriamb consists of six times, of which three are in 
the arsis, and three in the thesis. The subordinate relation 
in the thesis is rising, and contrasts, therefore, with the prin- 
cipal relation (P. 1. ch. 3. p. 13). 

a:3=:t:3 



a : 2 := t : 1 t : 1 = a : 2 

The arrhythmy which hence arises is softened by trans- 
forming the choriamb either in a dimeter dactyl, cat. in syllab. 
or by substituting, according to a peculiar license, the iambic 
dipody (P. I. ch. 10. p. 37). 

The form - ^ ^ - is unquestionably choriambic when the 
iambic dipody corresponds to it as antistrophe, but dactylic 
when the single choriambs are strictly separated by the diae- 
resis. Thus Horace, who had the nicest sense for rhythmi- 
cal harmony, separates almost always by the diaeresis the 
single choriambs in the asclepiadean verses, so called : 



Maecenas atavis edite regibus. 
X / / / 



Nullam, Vare, sacra vite prius severis arborem, 
to indicate thereby that he took them as dactylic and supplied 
after each choriamb a pause of two shorts ; but Alcaeus and 
Catullus seem to have measured these originally choriambic 
verses by choriambs, because with them the diaeresis after 
the choriambs is not essential. 

The character of the choriamb is different according as 



130 CHORIAMBIC RHYTHMS. 

its form is dactylic or choriambic. The soft arrbythmy 
whicb belongs to the choriamb, renders it particularly suita- 
ble for the Aeolian poetry. The comic and later tragic poets, 
too, use it frequently : Pindar and Aeschylus more rarely. 

The choriamb of dactylic rhythm partakes of the charac- 
ter of the dactylic kind. 

The usual form of the choriamb is that in which both 
arses are contracted: -^^~. The first arsis, however, oc- 
curs sometimes resolved, as Arist. Av. 1372. 



AvaTtirofiai dr/ TtQog '^OXv(X7tov TttEQvyeaai ycovq)aig, 
Arist. Lysistr. 324, 325. 



^Ttto ts pofioov aQyaXsmv 

compare also Pind. Fragm. Dith. III. 10. 

The resolution of the second arsis is more rare, as Eur. 
Hel. 1489, 1506. 

_v.__^w_v._ (Glycon.) 

Bars nXeiddag vtto [xsaag, 
/JvaxXeiav 5' duro avyyovov. 

The resolution of both arses is still more rare. Hermann 
quotes as an example Eur. Bacch. 410, 425. 



(Glycon. polysch.) 



^EyisTa ays ^we, JBqo[jlis Bqo[ii8, 
Kazd cpdog vvyaag te cpiXag. 

The two shorts are not permitted to be contracted. Ca- 
tullus only and Seneca have taken the liberty of using in 
glyconic and pherecratean verses the molossus for the chori- 
amb. 

The choriamb is capable of one catalexis only, namely, 

in disyllabum: ------- (P. I. ch. 7. p. 27). 

Choriambic rhythms were sometimes provided with lagaoe- 
dic terminations: 



CHORIAMBIC RHYTHMS. 131 



By a kind of paracataloge the long is sometimes used for 
the short in the first iamb in these logaoedic verses, in Aeoli- 
an lyric and in the dramatic poets. 

The choriamb receives frequently the cretic as a kind of 
close. 

Choriambic rhythms can be preceded by anacrusis and 
basis, both trochaic and iambic. 

On account of its terminating with the arsis the choriam- 
bic rhythm is more inclined to the diaeresis than to the cae- 
sura (P. I. ch. 11. p. 39). 

The following measures are the most common : 

(1) The Monopody or the Manometer, — Monometer 
choriamhicus. 



It occurs often in connexion with other rhythms, as Pind. 
Olymp. VI. 2. 



Kiovag, cog ore d^arirov (xeyaQOv. 
Soph. Oed. R. 1090=1102. 



Tav avQiov TtavasXijvov. 

Tig d^vydrTjQ, Ao'E,iov, tq5. 
With a cretic following in Hephaestion : 

^Icronovoi (jieiQaxeg. 
With the anacrusis and cretic close, as Pind. Olymp. IV. 9, 

Ovlviimoviy.av dexsv. 
With a trochaic basis: Eur. Hec. 473. 

X / 



Tav Zavg aiiqunvQcp, 



132 CHORIAMBIC RHYTHMS. 

With the iambic basis : Soph. Aj. 605, 606. 

Xgovcp tQv/o^Evog, 
The choriamb frequently receives a logaoedic ending: 



the versus Adonius, see above. It receives also the anacru- 
sis, as Soph. Oed. R. 468=478. 



^l^vya nod a vcofxav 
TIsTQag are ravQog. 
With the basis it forms the Pherecrateus : 

X- / - 

Of the dactylic pherecratean we have treated above. The 
choriambic ought, according to the analogy of the glyconics, 
to admit of a polyschematist form : 



_ V. s. _ w _ ^ polyschematist 'pherecratean. 
It is to be doubted, however, whether the polyschematist 
form really exists ; for the few passages in which it appears to 
correspond to the original form, prove nothing, being corrupt. 
In the Priapean verse alone the original form is sometimes 
exchanged for the polyschematist. 

Owing to the variations of the basis, the original form as- 
sumes the following shapes: 

X / - 

\^ _v._v.v._w yr^qvg ovd' oca fDot^og. 

x^ / - 
2. -^^-^ Qetidog a nv stixrs, 

X / - 

3. v.v._^ y^^^l So^avz^ diioyiXTvai. 

4, vs. — V. w _ V ^/ ^Q^-' av iioi TO 7.ar ri^aq. 



CHORIAMBIC RHYTHMS. 133 

/ / — 

5, - — w^-o TTQOEiTtoiiJi av ^Ad^dvag. 
Q^ ^w^_ww_^ gee form 2. 



/ / 



7. ^-^ see form 3. 

8, _ww_w^_w ^svioiiai ciQuari TZcoXovg. 

The feet of three syllables generally occur m comic writers 
only, and in the later tragedy. It is better to consider the 
eighth form, in most cases, as a logaoedic-dactylic series, be- 
cause it usually corresponds to itself alone. 

In the choriamb of the pherecratean the first arsis is some- 
times resolved, as Eur. Hel. 1486. 
'ETiiTTeroiievog iay^ti. 
The contraction of the two shorts occurs in Catull. LXI. 25.' 
Nutriunt humore. 

If the choriamb receives an iamb for a logaoedic termina- 
tion, the following form arises : 



The polyschematist would arise from the substitution of the 
choriamb for the diiamb : 



As forms of equal kinds alone seem to correspond, it is bet- 

/ X / 

ter to consider -^--^-as a logaoedic dactyl, and -^-^v._. 
as a choriamb with the basis. 

The same is the case when this rhythm is preceded by an. 
anacrusis : 



In Eur. Here. fur. 791, 808, the polyschematist seems, 
however, to correspond to the original form : 



-X- 



nXovTcowg do3[jta Xittcov vsqtsqov. 
12 



134 CHORIAMBIC RHYTHMS. 

Compare also Soph. Trach. 960, 969. 



XcoQsTv TtQO do^icov liyovaiv aanmov ti d^aifxa. 
Tl iQfi, ^avovta viv, rj xad^' vttvov ovra xQivat ; 
If the basis is prefixed, the chori ambic ^Zycow/c is formed; 

which differs from the dactylic in this, that it admits the 
middle time in the closing iamb, and receives polyschematist 
forms. 

The first polyschematist form which was used by Aeolian 
lyric and dramatic poets, arises from the substitution of the 
choriamb for the diiamb: 

X X X / 

-v_ __w_.,-.^s._ first polyschematist form. 



The second polyschematist form which occurs in Aeolian 
lyric poets alone (Corinna) and in the priapean verse, arises 
from the substitution of the diiamb for the choriamb: 

X / / 

«v^ ».v^_ w_ ~- ^ ---<-- second polyschematist form. 

By the variation of the basis other forms arise, which ar- 
range themselves partly under the original, partly under the 
polyschematist form : 



(a) Original Fo7*m, 

X / 
x^ / 

X / 

3. w.._w«. Qi'j^a roov nqoreQov (fdog, 

x^ / 
4. ^^ — v.v-w_ 7TeQi^a)X CO reavov (oXivag, 



CHORIAMBIC RHYTHMS. 135 

X / "^ 

5, ^^^ ^ 7106 IV rov ^EQEi^Eidav. 

X^ / 

6. --^--^ ^aaiXixojv d^ald^cov t etev, 

X / 

7, ^ tag tiXe'AtQOcpaeig avyag, 

8. - ^ — ^ ^ ig aiiillag XaQitcov ^airag. 

9^ V. — w^_w_ (^g)ooVoa^ aXdyoi^g to tag. 

10. --^--^-^~ see form 2. 

11. v.w_w__ see form 3. 

r.X / ^ 

12. -^^-^--'-- TiaQ&ivog evdoMfxcav ydfjicov, 

13. ^ — "-^ i^£«^ afK^iTtolov xovQav, 

14. v.^v._v.w gee fQfj^ g^ 

15. ^^ see form 7. 

^x 
16. -w._.. 



(b) Folyscliematist Forms* 

X x / 
X X / 

1. ---^-^^- g)cora ^dvta Ttavaayla, 

2. -^^-_w_v.^._ Q ^iyag oX^og d t aQetd. 
X x^ / 

3^ __v.www_wv._ rfii^cc ^fc' odvvag dv e^ag. 

Xr. Xr. / 

4^ wwwvv.^_wv._ (fvydda TtQodQOfiov o^vteQcp. 

X X / 

5. ^^- ;<a/ viv oji^qc^ taxofievav. 

Xr. X / 

6. v^w^ ww_ ro ydq dn oat rival ^alETtov, 



136 CHORIAMBIC RHYTHMS. 

7. --- — — - 

X^ X^ / 
X X / - 

9. ^>~v.w_ gjj' ^^ Uavog el'&' 'Exdrag. 

Xo X / 

10. ^ ^ — ^ - ^ V. _ avvenoirjaa rqJ q)aXaxQ(^. 
X x^ / - 

11. — ..^^-v^._ ;^^^ j,^^ xvriaog avtofiarog, 

12. ^--v^^-^-^^- TToSa '^QiiiTtroiiEvog elvaXicp, 

X X / - 

13. ^^- cw ;rar ;r«r dvaravotdtag, 

x^ X / ^ 

14. ^^ ^^-- oaiog d' evvaiog yajxerag, 

XX- / ^ 

15. --.^------. 

X- X/^ / 

16. — - — — — - 

/ X / ^ 

17. *^ — v-~wv._ Ttod^ovG '^AQteiiiv 7.0'^iav, 

Xr. X / 

/ X- / 

19. ----^-v.v._ f xfrcr' (x;^£ f^€, BQOfiie, BqoiiiB, 

20. v-^-v.ww_v.w_ gee form 4. 

/ X / 

21. " see form 9. 

-/X / ^ 

22. ~^^-^-^^- j^i^^oo^ tTidvco 7186818 yvvai. 

23. — " " " see form 11. 

24. -^^v-v-v---^- XaZ>c/^cc ;roA*i^ f /icci^ nqoliTtova 

/ X / 

25. ^^- aot^a? 8vdat[iovLag, 

26. ^^^ ^^- see form 6. 



/»- J 



CHORIAMBIC RHYTHMS. 137 

27. ^-^------ 

^x -X / 

28. ^^^v..„»..« 

/X / ^ 

29. - - see form 13. 

^/X / 

30. ~"^ .WW- TQooeg otap x^lnaGmg "^q^s. 

31. --- 

^/ ^x / ^ 

33. ^-^ — ^^" '^EQCog aviKars fid^av, 

34. ^^^^ — ^^- nokvnovov codTZSQ niXayog* 



■^/ /^/ / 



3g, VVW^WW«V.^- gge fQJ.JJ| 4^ 



/ / / 



37. — ^ — ^ ^ - 0^ Ttavaofiat rag Xdqitag. 

38. -wv^„«w.._ rqv^ouBvog ovtico Xifxevcov, 

39. — w^^»-uw« ggg fQ^jji 11^ 

40. - V ^ ^ ^ w „ w V « gee form 24. 



/ / / 



41. ^ ^ ^ - see form 25. 

42. V w w vs.- gee form 6. 

43. ^ — w w _ V. ^ -. QQ^g ^^p TtoSa rovrov ; oqoj. 

44. wv^_v.s._w^_ ndqig 6 ^ovKolog dv SXa^ev. 



f / / 



45. ^ - see form 13. 

46. - - - - see form 30. 

12* 



138 CHORIAMBIC RHYTHMS. 



47. wv«.wv- (pomaoovaa TraQr^id^ tiidv, 

48. ~v.v-vv«wv._. norviai aXaog ig vjisreQav. 

X / / 

The form -^^ — ^^- and all those derived from it, are 
not in use. 



11. 



Since in the dramatists this form, wherever it occurs, al- 
ways corresponds to itself only, the rhythm appears to be 
dactylic-logaoedic ; but in the Priapean verse it is choriambic, 
as, 

a iiakaiag fisv i^OQoov dvaTtvscav d^^ vdxivd^ov. 

In all the forms enumerated above, the difference lies in 
the basis. But both in the original and polyschematist forms 
the longs of the choriamb can be resolved, as Soph. Oed. 
Col. J 86. 



Arist. Thesm. 1136. 



rs/ / irs 



UalXdda rt^v q)iX6xoQOV s[xot, 
Eur. Bacch. 410, 428. 



^Eneia ays jue, BQOfAis, BQO[A,iSy 
^ocpdv d' 0,718)^6 TCQanlda q)josva rs. 

Also the resolution of the long of the concluding iamb in 
the original form is found in systems, as Iph. Taur. 1106. 

S2 TToXXal daxQvojv Xt^ddeg, 
^l 7taQ7]idag etg i[A,dg 
'^ETteaov, dvUa nvQymv, 

even vi^hen the spondee stands for the iamb, as Eur. Ion. 
205 sqq. 



CHORIAMBIC RHYTHMS. 139 

TIavra toi ^Xicpaqov dico- 

Aatvoiai riydvtcav. 

For the contraction of the shorts in the choriamb, there 
are no examples of critical certainty. Seneca, however, 
admitted the Molossus in his tragedies, as Oed. IV. 4. 5, 6. 

Vela, ne pressae gravi 
Spiritu antennae tremant. 

The above forms do not all occur with equal frequency. 
The more ancient tragedy (Aeschylus and in part Sophocles), 
has not the trisyllabic feet in the basis; the Aeolian lyric 
poets, on the contrary, the later tragedians, especially Euri- 
pides, and the comic poets, frequently allow themselves to 
employ the trisyllabic feet. But it must be remarked that 
form 12 and form 16 of the original form 



usually correspond only to themselves, and then in most 
cases they are rather a dactylic rhythm. In the first poly- 
schematist form, the second basis is generally retained with 
greater purity than the first ; hence trisyllabic feet are more 
rare in it ; the anapaest, it seems, must be wholly excluded, 
except perhaps in Priapeian and Eupolidean verse; where it 
apparently occurs, the first basis is to be taken as a tribrach 
or dactyl, as Eur. Orest. 814, 826. Iph. Aul. 1041. 



OlxTQotata d^oivdfiata TiaL 
TwdaQig LdxTj(ys rdXai- va 
IIi8Qid8g iv dairl '&80dv. 

Sometimes systems are composed of glyconics, commonly 
with a pherecratean, sometimes also a logaoedic rhythm for 
a conclusion; sometimes also they are mingled with other 
rhythms, especially with logaoedic dactyls ; and sometimes 
combined with other rhythms into single verses. 

In antistrophic poems, in Aeschylus, the original form only 
corresponds to the original form ; but the iambic basis also 
corresponds to the trochaic, as Choeph. 611, 621. 



140 CHORIAMBIC RHYTHMS. 

nveov^y d xvv6q)Q(ov vTZvcp. 

In Sophocles, on the other hand, and still more in Euripi- 
des and the comic poets, not only the exact observance of 
correspondence between the bases, is not regarded, but the 
original form often corresponds to the polyschematist, and 
the reverse. 

The combination of the choriambic glyconic, and the 
Pherecratean, is called the Priapeian verse ; 
X- / X - / - 



x-x- / 



A similar verse is the Metrum Eupolideum, so called : 
x-x- / x-x- / ^ 



The glyconic has also the anacrusis sometimes before 
the basis : 

-x-/ - 

w_v.«ww_^-. original form, 
-x-x-/ 

w v._wv._ polyschematist form, 

as Eur. Hel, 1481, 1498. 

'^Ofi^Qov XiTtovaai )[stfASQiov. 
Aaii7TQ(5v aazQcov vn dsXXaiaiv, 

Sometimes also another basis is prefixed : 
x-x-/ -^ 

_w_v^_ww«^_ original form, 

X-X-X-/ 

_v._^_^_v.^„ polyschematist form, 
as Eur. Bacch. 867, 887. 

'E(j.7iaL^ovaa letfiaxog 'ijdovaig, 
^v^ovrag avv iiaivofjiiva do'^a. 

The choriamb with a longer logaoedic ending : 



is used by Aristophanes : 

Ovy. hog oa yvvatxEg, 
ndci y^a^iolaiv ^fjidg. 



CH0RI4MBIC RHYTHMS. 141 

It also serves for the concluding rhythm of choriambic sys- 
tems. 



(2) The Dipody or the Dimeter, — Dimeter choriamhicus, 

-v^ v.w_ acatalectus. 

/ / — 

-WW — w catalecticus. 
The acatalectic dimeter is the chief element in choriam- 
bic systems. It also occurs frequently elsewhere, as Eur. 
Med. 643. 

'H TiarQig, (o d(S[xd z ifiov, 

or in combination with other rhythms, as Aesch. Pers. 647. 
/ / / 

H epilog avTjQj epilog o'/^d'og • cpila yaq 'Asy.evd'sv ijd^rj. 

It also receives the anacrusis or basis. 

It is often provided with logaoedic terminations, as 

as Soph. Aj. 226. 

Tav 6 fjisyag [ivd^og ds^st. 

With the basis : ----^ — -^.^ Soph. Ant. 944. 
'^Erla xal /lav dag ovQanov qjoog, 

according to Terent. Maur. p. 2426, and Mar. Vict. p. 2576, 
used also frequently by Sappho. 

The Epionicum a minore, so called, cited by Hephaestion, 
/ / / / / 



may perhaps be thus divided : 

-X- / 



UsQiaaov • at ydq Anollcov 6 AvKuog. 
'Ivoo aalaaaopiESoLa dv drio fidadcov. 



This rhythm, with the basis, gives the Asclepiadean verse, 
so called, versus Asclepiadeus : 



142 CHORIAMBIC RH\THMS. 

X- / / 



which was used both by the line and by distichs, by Ionian, 
Aeolian and Roman lyric poets. 



/ / 



Anacreon : 

/laxQvoeaadv % iq)iX7]68v al'^iidv. 
With the anacrusis : 



-- / / 



Soph. Ant. 614. 

Qvaroov ^lotcp TidiiTtoXig ixtog drag. 
With the basis : 

X- / / ~ 



Rhes. 366. 

^^TtccQtav oixofisvcov ^IXtddog TtaQ d^rdg. 
Soph. Aj. 230. 

Qaveirai, TtaQanlriKrcp '^eqi avyiiaTaxrdg. 
With a preceding trochaic dipody : 



it gives the rhythm which Horace uses in distich combina- 
tion, Sapphicum majus. 

With preceding iambic dipody Soph. Aj. 227. 



O'/fioi cpo^oviA,ai TO TTQogeQTTov. TiEQicpavrog dv^Q, 
With a following cretic : 



Ovds Isovtcov cd^svog, ovds rQoq)aL 
The catalectic dimeter is more unusual, as Pind. Isthm. VI. 
Epod. 6. 

AXkd Tzalaid ydq. 
With the basis, Aesch. Eum. 1035. 

X-/ /- 



CHORIAMBIC RHYTHMS. 143 

(3) The Tripody or the Trimeter, — Trimeter choriambicus, 
/ / / 

_ww — WW — ww_ acatalectus. 
/ / / — 
-WW — WW catalecticus. 

The acatalectic trimeter is frequent in the lyric poets 
and dramatists, as Aesch. Suppl. 57. 

El ds xvQSt Tig TTsXag oicovottoXoov, 

It also receives the basis, as Soph. Ant. 950. 



Kai Zrivog rafxieveaxs yovag iqvaoQvtovg, 

It is also provided with logaoedic terminations, as Soph. 
Oed. Col. 694. 



'^Eariv 5' olov iy(X) yag ^6 lag ovk BTtaxovco, 
The Aeolian lyric poets used the verse also by the line : 



X- / 



This rhythm the Aeolian and Roman poets used very fre- 
quently by the line and by distichs ; the metrum Asclepia- 
deum mqjus. 

In the dramatists it occurs singly, as Soph. Phil. 175. 

Xqdag larafxevq). Ttcag Tiore Tzcog dvafiOQog avxiiu ; 

Eur. Here. fur. 637. 

A veorag ijloi cpllov, a^d^og ds ro ytJQag alei. 

This rhythm was used by Anacreon in such a way that he 
always substituted the iambic dipody for the second chori- 
amb: the Choriambicum polyschematistum^ so called: 

Ex TTorafxov ^7Tav8Qyo[jai Ttdvra q'SQOvaa XafXTtQU, 

in the same manner Eupolis in Athen. VI. 236. As in the 
diiamb, the middle time appears never to have been put for 
the first short, the rhythm might also be dactylic logaoedic : 



144 CHORIAMBIC RHYTHMS. 

Aristophanes Lysistr. 319, 320, has the diiamb for the first 
choriamb. 

Aiyvvv doy.o3 iioi xad^oQccv ^ai yianvov, ca yvraTxeg, 
i2a7Tf:Q TivQog yiaofisvov, (jTtevareov iari d^drtov. 

According to Hephaestion, Anacreon, in one poem, re- 
solved the first arsis of every first foot : 

"'Avaniroiiai drj nqog '^OIvjatiov TrreQvyeaai 7iov(faig» 

It is found with the anacrusis, Aesch. Sept. 324. 

Ttz dvdQog Ay^aiov d^sod-ev rnqd^oiiivav drifA^cog, 

Sappho used it by the line. 

With the basis it was used by the Ionic and Aeolic lyric 
poets, sometimes by the line, sometimes by distichs. It is 
also used singly by the dramatists, as Soph. Aj. 1185. 



Tig dqa vtarog eg ttote Irj^ei TroXvTiXdyHrcor iracov aQid^fJiog ; 

With a trochaic dipody following, the trimeter is used 
among trochaic tetrameters by Terent. Adelph. IV. 4. 3, 4. 



Membra metu debilia sunt: animus prae timore 
Obstipuit, pectore consistere nil consili quit. 

The prolongation of the last syllable of the word debilia \s 
here to be noted. 

The cretic also follows the trimeter : 



-^? Kvd^eQSiag hninvEtr^ o^yia levacolivov , 

The catalectic trimeter is more rare, as Arist. Lysistr. 323, 
where the diiamb stands for the first choriamb : 

Te xai Kqirvllav 7i8(>iq)vai^Tco, 

With the basis, it is found in Soph. Phil. 706, 707. Ant. 951. 

Ov q)OQ§dv IsQag ydg cnoQOv, ovk dlXcov. 

AiQMv t(5v vEiiofiEad^ dvsQeg dXqjrjaraL 

'AXX d fxoiQidta rig dvvaaig deivd. 



CHORIAMBIC RHYTHMS. 145 

(4) The Tdrapody or the Tetrameter. — Tetrameter cho- 
riambicus. 



acatalectus. 



-^^ — ^^ — ^w — V. catalecticus. 
The former is frequent in the dramatists, as Soph. Oed. RV 
483 sq. 

zJeiva iJilv ovPy deiva raQaaoEi aocpog oicovod^tzag, 
OvTS do'/.ovvT, ovT d7Toq)d6y.ov&' , on Xs^co d' anoQoi, 
It receives also locraoedic endinors : 



Soph, Antig. 153. 

Ilavvvy^mg navrag In^ld^wiJiEv, 6 0)]^ag d' iXeXr/d'oov. 



With the basis the Aeolic lyric poets used this rhythm by 
the line. 



Soph. Phil. 1161. 

Mrixizi (Ar^dtvog y,Qatvvcov oaa TrspiTTSi ^iodcoQog ala. 
With the basis the Aeolic lyric poets used it by the line. 

The catalectic tetrameter occurs more rarely, as, with the 
basis, Soph. Phil. 681. 

"u41Xov d' ovTiv sycoy oida xXvojv, ovd' loidov fioiQa. 



(5) The Pentapody or the Pentameter, — Pentameter cho- 
riambicus. 



acatalectus. 



^^ V. V.W — ^^ — w catalecticus. 

Both are rare; the former is used, as Pind. Dilhyr. Fragra. 
III. 10, with the resolution of the first arsis of the second, 
third and fourth choriambs, and with a cretic following: 
13 



146 IONIC RHYTHMS, 



Tov Bqoihov 70V ^EQi^oav re Kaleofxsv, yovov vTtmcov (asv 
TiarsQCfjv i^isXTTSfxav, 

With a logaoedic ending : 



Philicus and Simmias used it by the line. 

The catalectic pentameter is found, as Soph. Trach. 850, 
with the anacrusis : 

L^ 5' iQX0[A.8va [AOiQa nqocpaivei doXtav Kai [xeydXav axav, 

(6) The Hexapody or the Hexameter. — Hexameter oho- 
riambicus, 

-WW ^ — ^ V. WW — s.w_ acatalectus. 



/ — 



-WW — WW — WW w — w^ w catalecticus. 

The former is very seldom used ; with an iambic basis and 
logaoedic ending it occurs in Eur. Iph. Aul. 172. 



/ / 



]A)^aidov rs TtXdrag vavamoqovg ruA^id^mv, ovg im Tqoiav 

iXdtaig iiki6vav6iv. 
The catalectic hexameter seems not to occur. 

(b) lonici a majore. 

The Ionic a majore consists of six times, four of which 
are in the arsis and two in the thesis. The subordinate 
relations are of the equal kind ; that of the arsis 2 ; 2, that 
of the thesis 1 : 1. 

a:4 = t:2 



a:2=:t:2a:l — t:l 

The principal arsis is accordingly the first "(P. 1. 

eh. 3. p. 13). It has a heavy and coarse character, and 
hence was called by Aristides Quintilianus QV'&fjiog cpoQTi'Aog, 



IONIC RHYTHMS. 147 

The more elevated lyric poetry rejected it almost wholly. It 
was used chiefly for satirical and obscene poems {ri'&oXoyoi, 
xivaidoloyoi) ; it was, moreover, never sung, but recited with 
ludicrous gestures. Hence are explained the many licenses 
which were permitted in its use. 

According to P. 1. ch. 10. p. 37, the ditrochee may be 
substituted for it ; this takes place most frequently at the 
end. In the pure ionic, the long often stands for the last 

short — "-, according to the analogy of the second short 
in the thesis of the dactyl. Sometimes also the shorts of the 
thesis are contracted ; finally, the short seems also to have 
been put sometimes for the first long ; but the passages where 
this occurs are not of critical certainty. Resolutions of the 
long, as well in the pure ionic as in the ditrochee, are frequent. 

The ionic is susceptible of only one catalexis : 
// // // /— 
in disyllabum : — ^^ — ^^ — wv._w 
(P. 1. ch. 7. p. 27), with the single exception of theCleoma- 
chean verse, which is a dimet, cat, in trisylL 

The acatalectic rhythms never terminate with a pure ionic, 
on account of its want of a close, but always with a trochaic 
dipody. 

(1) The catalectic Dipody or the catalectic Dimeter, 
— ^ Dimeter cat. in trisyllabum. 



The versus Cleomacheus : 
* Tig ri^v vSqitjv v^cSv 

''E^pocprio ; iyco tzlvojv. 

(2) The Tripod y or the Trimeter, — Trimeter ionicus, 

— ^^ — vv._v._v. acatalectus. 

— -^ — w_v. catal. in disyll. 
According to Hephaestion, Sappho used the former, 

KQriaaai vv nod^ oo^' l^i^elJcog nodeaaiv 
'i^QX^vvz' dnakoTg aiicp iQosvza jSwjWoV, 



148 IONIC RHYTHMS. 

unless this rhythm, like most of those cited by Hephaestion 
as ionic, is choriambic; at least, so it seems according to 
the other fragment, which Hephaestion cites, which, because 
it begins with a short, must be thus measured : 



Uoag rsQSv avd^og [^aXaxov [Aarevaai. 

Otherwise, the short would have to be explained as a license. 
The catalectic occurs, according to Hermann, Plaut. 
Amph. I. 1, 14—18. 

Cogit me qui hoc noctis a portu. 



(3) The Tetrapody or the Tetramete7\ — Tetrameter ionicus. 

— V.V. w — v.^__^ catal. in disyll. 

The Versus Sotadeus or Sotadic verse, used by Sotades 
and many others, also by the Romans, as Ennius, Plautus, 
Martial. Of the various licenses of the verse, see below. 



B. Rising Rhythms. — lonici a minore. 

The ionic a minore is the ionic a majore reversed. It 
also consists of six times, two of which are in the thesis, 
four in the arsis : 

t:2:=a:4 



t:l = a:l t:2 = a:2 

The second arsis has accordingly the strongest intensity 
/ // 
^^ — . In itself the rhythm is arrhythmic, but the ar- 
rhythmy is softened by certain means. As the groundfoot 
ends in the arsis, the rising ionic rhythm delights in the 
diaeresis, and it is possible to supply by the pause so much 
as is necessary to restore the rhythmical equilibrium, as, 

Miserarum est neque amori dare ludam neque dulci. 

The arrhythmy is further softened by the substitution of 
the trochaic dipody and by the peculiar break or dvccKlaaig 
that takes place here (P. 1. ch. 10. p. 37). 



IONIC RHYTHMS. 149 



/ / If 



f f f — 



The arses of the ionic are, in a less rigid use, resolved ; 
the thesis is but seldom contracted. 

The ionic a minore has the character of discord and wild 
enthusiasm ; hence it was mostly used for the Phrygian 
mood, with the accompaniment of cymbals and other noisy 
instruments. It was especially used for Dionysiac and 
erotic poems and for phrenzied songs to Cybele. It is un- 
known to the Dorian lyric poetry ; the dramatists, on the 
other hand, use the ionic frequently in choruses, whose 
subject is sometimes imploring, sometimes bacchic. It was 
also used in mourning songs. 

The ionic is capable of only one. catalexis, namely, in tri- 

syllabum ^^ — ^^-. On account of the termination on 
the arsis, the diaeresis predominates. 

Sometimes the ionic rhythm receives, at the end, one tro- 
chee more, as a logaoedic prolongation ; the preceding long 
of the ionic in that case appears as a short. Such a rhythm 
might also be regarded as a catalectic. 



(1) The Monopody or the Monometer. — Monometer ionicus 
a minore. 



does not occur ; though it seems often to stand before other 
rhythms, it is in those cases not an ionic, but a dimeter ana- 



paest, cat. ----, as Pind. Pyth. IX. 1. 



^TTt^dexro d' dQyvQOTzeC ^AcpQodita, 
13* 



150 IONIC RHYTHMS. 



(2) The Dipody or the Dimeter. — Dimeter ionicus a minore, 
II II 
^w ^ — acatalectus. 



w ^ w _ catalecticus. 

The acatalectic has three forms : 
f I 
■ - the pure ; 

the polyschematist ; 



/ / / / 



III — 



/ — 



v^^-w V. \^^ broken. 

In the pure form it was used according to Hephaestion 
by Alcman : 

'Eyiatov iih /I tog viol 

Tads Mcaaai xQOxoTrsTtXoi. 

The ionic systems, of which below, are mostly arranged 
by dimeters, but in such a manner that a monometer some- 
times remains. As the Anacreontic verse, versus Anacre- 
onteus^ it appears mostly in the broken form, but sometimes 
the pure or polyschematist form occurs with the broken. In 
antistrophic poems, the polyschematist or broken form may 
correspond to the original form. 

The Anacreontic verse is used sometimes by the line, 
sometimes by systems. It also occurs singly, as Aeschyl. 
Agam. 746, 747. 

/IvaedQog xat dvaofxiXog 
2Jvfi8va IlQiaiJiidaiai. 

The dimeter sometimes takes a trochee as a logaoedic 
ending : 

/ / / — 

with which often a system closes, as Eur. Bacch. 537, 6^^, 
'^Eti aoi roil BQOfiiov fieXrjaeL 
fpoviov d' dvdQog v^qiv y.arda'^eg. 

A remarkable logaoedic ending is found in the closing 
verse of the Anacreontic system, in Eur. Cycl. 510. 



IONIC RHYTHMS. 151 



/ / 



08Q8 fioi, ^sTve, q)6Q daxov svdog iioi. 

According to Hephaestion, the catalectic dimeter was used 
by Timocreon : 

2JiKelog ^oii\pog avrjQ 
TIoTt rav [xatSQ s(pa. 



(3) The Tripody or the Trimeter. — Trimeter ionicus 
a minore. 



/ / f f / / 



"" — ^^ — wv. — acatalectus. 

V.O — WW — ww_ catalecticus. 

The acatalectic trimeter seems to have been much used 

particularly by the Aeolic lyric poets. Hephaestion cites 
from Sappho: 

/ / / / / 



Tl lie Uavdiong coQccva y^eXidojv, 
ZaeXs^dfxav ovaQ KvTiQoyevrja, 



further : ww_w_w_v.ww — 



Anacreon : 

^7t6 [xot d-avELV yhoit. ov yccQ dv dXXri 
Avaig iz Ttovcov ytvoir, ovdafjcd rcSvds. 

With a logaoedic prolongation : Anacreon in Hephaestion : 
/ / / / / — 

MeydXop d' iivre fx tQcog szoipev coare xaXxevg 
TIhU/.h, '/^ti[i£Qiri d' eXovaev iv XccQddQ)]. 

According to Hephaestion Anacreon used the catalectic 
dimeter : 

JiovvGov aavXai Baaaaoideg, 



152 IONIC RHYTHMS. 

(4) The Tetrapody or the Tetrameter* — Tetrameter ionicus 

a minore, 

^^ — ^v — w^ — V... — acatalectus. 

^w — ^w V. — wv- catalecticus. 

The former often apparently occurs in the pure form ; it 
is then a part of a system. It is used singly, as Aeschyl. 
Agam. 745, 758. 



IlaQaxlLvova BTtsycQavev ds ydjiov nrnqag tsXevrdg, 
/llxa 8' aXXoov iiovocpqcov elfMy to yaQ dvaae^sg sQyov, 

Anacreon in Hephaestion : 

Tlaqd d' 7]vte IIvd^oixavdQOv xatedvv tQcota cpevyojv. 

The catalectic tetrameter is the versus Galliamhus, which 
occurs sometimes pure, sometimes polyschematist. Accord- 
ing to Hephaestion, the tragic poets Phrynichus also used 
the catalectic tetrameter, as, 

To ye fjLTjv ^elna dovaaig Xoyog, GxjTieQ Xsyerat 
^Olsoai, xd7TOTe[A.8iv o^s'i ^^alxcp xeq)aXdvj 

and the comic Phrynichus : 

^ 5' avdyxa 'cd^ leQevoiv xa'&aQeveiv (fQdoofiev. 



STICHIC COMPOSITION. 153 



SECTION 11. 

THE COMBINATION OF SIMPLE RHYTHxMS IN LARGER 
RHYTHMICAL PORTIONS. 



CHAPTER I. 

COMPOSITION BY THE LINE (sTICHIC COMPOSITION). 

The composition y.axk ati%ov is the constant repetition of 
one and the same verse (P. 1. ch. 9. p. 33). It is appropri- 
ated to those poems in which composure and equability of 
feeling prevail, as in the Epos, in the dialogue of the drama 
(Diverbium) and in certain lower classes of lyric poetry, 
especially in witty and satirical poems. The verse itself, 
which is thus repeated, forms a rhythmical whole ; it must 
therefore manifest itself as such by its rhythm. The rhythm 
is either simple, that is, consisting of equal series, or com- 
pounded of different series. Both the simple and compounded 
can only satisfy the ear as a whole, when they have a fixed 
beginning, a fixed middle, and a fixed conclusion. The 
middle forms the principal mass, and to this the beginning 
and the end must stand in an appropriate relation. In a 
rhythm which is too small, as the Adonian or ithyphallic, 
these parts cannot be distinguished; hence such rhythms 
are less adapted to repetition by the line. Diaereses and 
caesuras mark the different parts of the verse. The dis- 
tinguishing marks of the close are the end of a word, the 
anceps and the hiatus, and in certain verses the catalexis also. 

In a freer use, many poets have allowed themselves the 
anceps and the hiatus within a verse, at the end of a series; 
asynartete verses. 

As it regards the rhythms themselves, which are used in 
verses to be repeated by the line, they must be so constituted 
as to allow variety of measure, because otherwise they would 
be wearisome by uniformity. The most complete of all 
such verses, and at the same time the most ancient, is the 
heroic hexameter, which, with all its unity of rhythm, appears 
under an infinite variety of forms, which are brought about 



154 TROCHAIC STICHIC VERSES. 

partly by the different caesuras and diaereses, partly by the 
alternation of the spondee with the dactyl ; hence poems of 
the greatest compass like the Iliad and Odyssey, were written 
in the hexameter ; every other verse would have wearied the 
ear. On the other hand, the smaller the compass of the 
poem, the simpler also may be the verse. 

In verses composed of different series, one series forms 
the principal series, the others are attached to it as an intro- 
duction or a close. We shall always consider such verses 
under the head to which the principal series belongs. It is 
impossible here to cite all the verses which were used by the 
ancients by the line ; we shall, therefore, limit ourselves to the 
more important, and those of which considerable remains 
have come down to us. 



L Verses used by the Line of the Trochaic-Iambic kind. 
A. Trochaic Verses. 

The verse consists of a dimet. troch. acat. with a dimeter 
creticus following, in which the first cretic always appears 
as a first paeon. This verse is used, Arist. Lysistr. 1014 — 
1035. 

Ovdtv i(yn x^tjqiov yvvaixog dfjiaxoirsQoVj 
Ovds 7ZVQ, ovd' 00^' dvaid7]g ovdeiiia TtOQdaXig, — 
Tavra ijJvzol gv ^vnslg elta TioXefxeig ifxoi, 
'E^ov, 00 7tov7]Qs, 6o\ ^t^aiov if/ ix^iv cptXtjv ; — 
ilg iyoj [xiGcav yvvaiKag ovdeTtote Tzavaofiai, — 

The verse has commonly the diaeresis after the trochaic 
dimeter, but it is seven times neglected; in verses 1014, 
1017, 1021, 1022, 1026, 1033, 1035. 



(2) -v>---^~---~--- 

A dimeter troch. with ithyphallic following. Hephaestion 
erroneously classes this verse with the asynartete. An ex- 
ample is cited by Hephaestion, probably from Sappho : 



TROCHAIC STICHIC VERSES. 155 

'^Eari fioi aala Tidig yQvaioiaiv dvd^sfxoiaiv 
'EfA.(pEQrj syoiaa iioQCpdv, KXrfCg a 'yaTraTa^ 
"^Avrl rdg eyco ovds Avdiav ndaav, ovd' Iqavvdv. 



(3) — 

Tetrameter irochaicus acatalectus. 

Versus octonarius. 

It was probably used by the line by the Greek lyric poets ; 
Hephaestion mentions an example from Anacreon, in which 
the diaeresis after the second dipody is neglected : 

The Greek dramatists do not use this verse; but it occurs 
very frequently in the Roman writers, both in tragedy and 
in comedy. They allow the known licenses in the uneven 
places, and resolve even the last arsis. The principal cae- 
sura is after the second dipody ; but the diaeresis is also 
sometimes neglected. This rhythm is commonly used in 
those passages, in which a passionate excitement occurs. 
Take as an example Terent. Eun. IV. 6. 1 — 8. 

Credo equidem ilium jam adfuturum, ut illam a me eripiat ; sine 

veniat. 
Atqui si illam digito attigerit, oculi illi ilico efFodientar. 
Usque adeo illius ferre possum ineptiam et magnifica verba, 
Verba dum sint, verum si ad rem conferentur, vapulabit. — 
Thais, ego jam dudum hie adsum. — O mi Chremes, te ipsum 

expeto 
Scin' tu turbam banc propter te esse factam ? et adeo ad te ad- 

tinere banc 
Omnem rem? — ad me? qui quaeso, istuc ? quia dum tibi so- 

rorem studeo 
Reddere ac restituere, haec atque huiusmodi sum multa passa. 

Plautus sometimes makes the verse asynartete, inasmuch 
as he allows himself the hiatus in the diaeresis, as Bacch. 
IV, 3. 1. 

Petulans, protervo, iracundo -animo indomito, incogitato. 



156 TROCHAIC STICHIC VERSES. 

/ — / — / — /*^ 

(4) _._._.-._._._._ 
Tetrameter trochaicus catalecticus. 

Versus septenarius or quadratus. 

This verse was used both by the lyric poets (lambogra- 
phers), and by the dramatists ; by the latter in those passages 
of the dialogue, in which a stronger excitement of the 
feelino-s is to be marked. 

The iambographers strictly observed the diaeresis after 
the second dipody, and among the trisyllabic feet wholly 
excluded the dactyl, except in proper names. 

The tragedians observed the diaeresis with equal strictness ; 
it is found neglected only twice, Aesch. Pers. 165. 

Tavzd (xoi dmlij iitqijiv aq^Qaarog eartv iv q)Q8(jiv, 
and Soph. Phil. 1402. 

El doxeX, oretxcojASv, — d yevvaiov eiQTj'AOjg mog. 

In the latter passage, it is excused by the change of persons. 
The comic poets did not always observe the diaeresis, as 
Arist. Nub. 580. 

ilJ//^' evi ^vv vw, TOT Tj ^QO'ProjfAev tj ip8xa(^0[i8v. 

Resolutions of the longs are more frequent in the first foot 
of the dipodies than in the second. In general, trisyllabic 
feet are more common in the later tragic writers (after Ol. 
89) than in the earlier. The last arsis but one is for the 
most part only resolved when the preceding foot is a trochee, 
as Eur. Phoen. 609. 

'Avoaiog Ttscpvxag. — dXX^ ov TzatQidog, cog av, noltiiiog, 

comp. also Ion. 1254. — Arist. Equit. 319. 

Nrj A I xdfis rovt IdQaas ravrov, coare 'AarayeXcov, 

Comp. also Av. 281. — The examples in which the spondee 
precedes the seventh foot resolved, are very rare : Arist. 
Vesp. 461. 

AXXd [j-d z//' ov Qadicog ovrcog dv avzovg diicpvyeg. 

The tragedians avoid terminating the third dipody in a 
spondee, if this forms the end of a polysyllabic word. 

The comic writers do not observe this, Arist. Nub. 577, 
581. 



TROCHAIC STICHIC VERSES. 157 

Eha TOP S^cOtGiv i^d-QOv ^vqaobiipriv IlaqjXayova. 

The tragedians, and for the most part the comic writers, 
excluded the dactyl. Still it was permitted in proper names : 
Eur. Orest. i5o5. Iph. Aul. 355. 

^vyyovov z eu)^v IJvXddip' ts tov tads tvvdQo^vra iaoi. 
Xilfcor doycov Uoid^uGv re atdlov Bii7ih]aag doQog, 

Comp. Plut. Polit. praec. p. Sil. F. 

Mrjloyog ^dv ydq GTQaT7]ysT, 3Ir]Tioxog ds rag odovg, 
Mijiioyog d' ccQiovg Inonta^ Miyiio^j^og ds Talq)i.Ta, 
MriTioyo) ds Tzdvra xsTtai, Mtjrioyog d' olfidtsTai. 

i\s an example of the catalectic tetrameter in the tragedians,, 
take the passage, Aesch. Pers. 702 sqq. 

'AXX sTTSi dsog naXaiov aol ccqsvojv dvdiararai, 
Tojv s^kZv Isyaqwv ysQaid 'Evvvoix evysvsg yvvai, 
KXaviAazoyv hj^aaa rcovds xca yoojv oacpsg zi ^oi 
ylsiov. ^^vd'QcoTttia d' dv zoi ntjiACiz av zvy^oi ^Qozolg, 
TlolJ.d [xsv ydo ex d^aldaafjg, Tzolld d' ix ysQCOv xaxd 
riyvszai d^vrjotg, 6 ixdaao^v ^tozog qv za&fi TZQoacx). 

As an exam.ple of the tetrameter in the comic writers, Arist.. 
Av. 302 sqq. 

Kizza, TQvycov, xoQvdog, ilsdg, v7Tod^viA]g, TzsoiazsQa, 

AsQzog, isoat, Cfdzra, xoxxvi, SQvd^Qonovg, KspJinvQig, 

IIooq:vo!g, xsoyvijg, xolvupg, d^nshg, cpffV)], dQvoip. — 

Oia mTTTTitovai xai zQsyovci diaxsxQayozsg. 

'y^Q dnsiXovaiv ys vow ; ol'iioi, xsyryvaGiv ys zoi 

Kai pJnovaiv sig os xdfis. — Tovzo pisv xdfjot doxsl. 

The Romans also used this verse frequently. As a lyrical 
verse it occurs in the Pervigilium Veneris, which, at least 
the greater part of it, belongs to a later time; hence the 
remarkable irregularities, as the spondee or anapaest in the 
uneven places, in verses 25, 9J, 62, 55. 

Totus est in arm is idem, quando nudus est Amor. 
Perdldi Mnsam tacendo, nee me Phoebus respicit. 

14 



158 TROCHAIC STICHIC VERSES. 

Unde foetus mixtus omnes ale ret magno corpore. 
Jussit omnes adsidere p u e r i mater alitis. 

The verse is very frequent in the dramatists. They allow 
the known licenses, only they preserve the last trochee pure. 
The diaeresis is often neglected, as Plant. Mil. glor. II. 

2.38. 

Domi habet animum falsiloquum, falsificum, falsijurium. 

Plautus has the hiatus often in the diaeresis, as Amph. V. 
1.42. 

Manibus puris, capite operto. Ibi continuo contonat, 

and sometimes also after the first or third dipody, as Asinar. 
II. 2. 26. 

Edepol hominem — infelicem^ qui patronam comprimat. 

Poen. III. 1. 35. 

Quidquid est pauxillulum iliac : nostrum id omne — intus est. 

For an example of the catalectic tetrameter, as used by the 
Roman dramatists, take Ennius in Cic. de Orat. III. 58. 

Multimodis sum circumventus, morbo, exilio atque inopia; 
Turn pavor sapientiam mi omnem exanimate exptctorat; 
Alter teriibilem minitatur vitae cruciatum et necem, 
Quae nemo est tarn firmo ingenio et tanta confidcntia, 
Quin refugiat timido sanguen atque exalbescat metu. 

Terent. Eun. II. 2. 17—22. 

Est genus hominum, qui esse primos omnium rerum volunt, 
Nee sunt; hos consector ; hisce ego non paro me ut rideant, 
Sed eis ultro adrideo, et eorum ingenia admiror simul : 
Quidquid dicunt, laudo, id rursum si negant, laudo id quoque : 
Negat quis? nego; ait? ajo, postremo imperavi egomet mihi 
Omnia adsentari. Is quaestus nunc est multo uberrimus. 



/ — • / — / / — 



(5)—. ^--- 

Tetrameter trochaicus claudus or Hipponacteus or quadratus 

scazon. 

A satirical verse, which was formed by reversing the clos- 
ing iamb of the catalectic tetrameter. The arrhythmy re- 
sulting from this produces a comic effect. The diaeresis, 
after the second dipody, is also the principal caesura. Re- 



TROCHAIC STICHIC VERSES. 159 

solutions seem frequently to have been admitted, especially 
in the first part of the verse. It was not well possible for 
the last foot to assume the form of a tribrach. The frag- 
ment of Ananius in Athen. VII. p. 282. B, may serve as an 
example : 

'^EuQc fxh XQoiiiog ciQiarog, avd^lag dl yaifAcSvi, - 
Tojv y.aldov d' 6\po3v aqiarov xaQig ex ovx8i]g cpvUov * 
Hdv x lad^Uiv "/^ijiaiQrig q:d^ivo7iojQi.a[i(p xQsiag, 
/lilcpa'AGg d\ oxav xQanmaiv xal Tzaztcoai ovx, ead^eiv. 
Kai '/.vvoSv amr/ xod^' coQr^ xai XaycSv xdXodTZrjy.cov ' 
'^Oi'og av{)'\ oxav S^eQog z rj xr^yixai ^a^Qci^coGiv. 
Elra d' iaxiv ix d'okaaarig d^vvvog ov xaxov ^QOJixa, 
^AVA Tzaoiv lyd^vsaatv l^Tzqamjg Iv fAVxxcoxc^. 
Bovg ds mavd^tig doxsco ^ilv xal fxaocov vvxxcSv ydvg 

XflfASQ7]g. 



/ — / 



(6) ^-. 

Pentameter trochaicus catal. v7T8Q(a8Xqov, 

Calliraachus in Hephaestion and Bentley, ad fragm. Cal- 
lira. CXV. 

'^EQyexai nolvg fxh Alyaiov draxixrj^ag cctt oivrjQrjg Xiov 
'AixqjOQevg, TioXvg ds Aea^tr^g acoxov vexxaq olvavd^rig aycov, 

(7) -^-v_. _._._. 

Hephaestion erroneously numbers this verse, consisting of 
two ithyphallics, among the asynartete. He quotes as an 
example from Sappho : 

/^EVQOj devxe Moiaai, XQvaeov XiTZoiaai. 

(8)~-— '---~ 
Versus Saturnius. 

This verse consists of two ithyphallics, the first of which 
is preceded by the anacrusis. It is originally an Italian 
metre, and occurs, therefore, in the oldest monuments of 



160 TROCHAIC STICHIC VERSES. 

the Latin language, in epitaphs and religious songs (Carmen 
saliare). As the doctrine of quantity gained entrance into 
the Latin language from the imitation of Greek models only, 
it is evident that in this oldest metre originally little or no 
regard was paid to quantity, but that the rhythm of the verse 
was indicated by the word-accent.* When at a later period 
Livius Andronicus translated the Odyssey, in Saturnian me- 
tre, into Latin, and Naevius wrote the Punic war in the 
same metre, the verse seems to have been governed more by 
the rhythmical laws of the Greeks by adopting the above 
scheme, but allowing the same liberties with which the 
older Roman dramatists treated the trochaic tetrameter and 
the iambic trimeter. 

We may. therefore, assume two epochs for the Saturnian 
verse, la the first epoch, until Livius and Naevius, its 
measure is yet very unsettled ; the rhythm is, however, evi- 
dently trochaic. It usually corresponds to two ithyphallics, 
sometimes with, sometimes without an anacrusis before the 
first ithyphallic. Sometimes the last syllable or even the 
last foot seems to have been wanting to the second ithyphal- 
lic; nay, it is said that there were hypercatalectic verses, as 
the grammarians, at least, for example Atilius Fortunat. p. 
2679, affirm. It is not to be denied, however, that the 
grammarians, by applying the metrical laws of the later 
Latin poets to the Saturnian verse, considered many a verse 
as anomalous which in fact was not. 

The song of the Arvalian fraternity may serve as an ex- 
ample of Saturnian verses of the first epoch: 

Ennos, Ldses, juvate, 
Neve luervern, Marmar, sins incurrere in pleores, 
Satur furere, Mars, limen salis sta berber. 
Semunis alternei - advocapit conctos. 

Ennos, Marmor, juvato. 
Triumpe, triumpe. 

It is to be observed that pleores (flores) should be read as 
tvi^o syllables; moreover, the lengthening of the a in satur 
(as in quatuor), the omission of the diaeresis in the third 
verse, and the hiatus in the diaeresis of the fourth verse, are 
to be noticed. 

* Carmina saturnio metro compta ad rhythmum solum componere 
vulgares consuerunt. Serv. ad Virg. Georg. II. 38.5. 



IAMBIC STICHIC RHYTHMS, 161 

The older among the epitaphs of the Scipios are evidently 
of a similar Saturnian rhythm, which Naevius likewise em- 
ployed in his own epitaph. They can easily be arranged as 
verses if we do not everywhere insist upon the Saturnian 
verse properly so called. We select the following epitaph 
as an example : 

Cornelius Lucius Scipio Barbaius. 
Gnaivod patre prognatus, fortis vir sapiensque, 
Quoius forma virtutei parisuma fuvit, 
Consol, censor, aedilis quei fuvit apud vos, 
Taurasid, Cisauna, Samnio [que] cepit, 
Subicit omne Lucania obsidesque abdoucit. 

The ground rhythm of the later Saturnian verse was: 



The resolution of the longs, the middle time for every 
short, the anapaest for the iamb, and even the resolution of 
the middle time were everywhere allowed. The diaeresis 
was frequently neglected, and the hiatus sometimes admitted 
in it. The grammarians quote as examples : 

Dabunt malum Metelli Naevio poetae. 

Magnum numerum triumphal hostibus devictus. % 

Ferunt pulcras creterias, aureas lepistas. 

Duello magno dirimendo, regibus subigendis. 

Fundit, fugat, prosternit maximas legiones. 

Summas opes qui regum regias refregit. 

We quote finally the epitaph of Naevius in Gellius, 1. 24 

Mortalis immortalis fiere si foret fas, 
Flerent divae Caraoenae Naevium poetam. 
Itaque postquam est Orcino traditus thesauro, 
Obliti sunt Romae loquier Latina lingua. 



B. Iambic Rhythms. 

— / — / 
(!)._. 

Dimeter acatalectus. 

It was sometimes used by the Romans, for example, by the 
emperor Hadrian : 
14* 



162 IAMBIC STICHIC RHYTHMS. 

Aiiimula vagula, blandula, 
Hospes comesque corporis, 
Quae nunc abibis in loca 
Pallidula, rigida, nudula, 
Nee, ut soles, dabis jocos. 

Seneca, too, has such verses in his choruses, as Agam. III. 2. 

Instant sorores squalidae, 
Sanguinea jactant verbera, 
Fert iaeva semustas faces, etc. 

and also Auson. Epigr. XXIX, XCIV, CXXXVIII. 

_ (2)—- — 
A dimeter with an ithyphallic following, as Callim. Fragm. 
GXVI. 

'^Evsat '^TioXkodv rco ^oq^, irjg IvQ-qg axovco ' 
Kal rojv 'Eqojzo^v 7jo&6pi7]v, 867i X 'A(fQo8iTa. 
Aristoph. Vesp. 248—272. 

Tov nrikovj oj TzdteQ TtccTSQ, tovrovi q)vXa^aL — 
KccQqjog yr^aiJidd^tv vvv Xa^ojv tov Xvp^ov TtQo^vaov, — 
Ovx, dXkd icpdi [loi doxoj xov Xvjyov 7iQo[^vo£ir, — 

The diaeresis after the dimeter is always observed, except 
V. 252 and 265. 

Kal ravra rovXatov anavit^ovTog, (hvorire, 
TSmq yeviod^ai xaTtiTtvevoai ^oqelov avtoTg, 

Hephaestion erroneously numbers this verse among the asyn- 
artete. 

(3)— — 

A dimeter with a tetrapodia troch. cat. following. Ar- 
chilochus in Hephaestion : 

/IrjiifjTQog dyvrjg xai, KoQijg tijv TtavfjyvQiv 68^03v, 

— / — / — / "^ 

(4); --^--- 

Trimeter acatalectus. 
It underwent various modifications, according to the va- 



IAMBIC STICHIC KHYTHMS. 163 

rious kinds of poetry to which it was applied. We distin- 
guish two principal kinds of the trimeter used by the line, 
that of the iambographers and the dramatists ; the latter, ac- 
cording to the kinds of the drama, is again divided into the 
tragic, satyric and comic. The doctrine of the caesuras and 
diaereses is common to all, which we, therefore, premise. 

The feet of the iambic trimeter may be arranged accord- 
ing to the double relation. As it has six feet in all, two feet 
or one dipody belong to the thesis, and four feet or two di- 
podies to the arsis : 



t : 6 =z a : 12. 



On account of the even numbers of feet, the trimeter might 
also be arranged according to the equal relation, so that 
the thesis would have three feet and the arsis three : 



t : 9 = a : 9. 



From this double arrangement of the rhythm follovi^s the 
variety of the caesuras and diaereses. It has two principal 
diaereses and two principal caesuras: 

^-^-|"-"-^~-- first principal diaeresis. 

"-^-, ^|-^---^- first principal caesura. 

"-^-"-|^-^-^- second principal diaeresis. 

v._w_o_^w|„^_v._ second principal caesura. 

The first principal caesura is called cdesur Si Tievd^ijiJffieQT^gy 
on account of the five half feet which it separates; the se- 
cond icfr{}r^fxi^.£Q/]g, on account of the seven half feet which it 
cuts off. The first caesura is by far more frequent, because 
it runs parallel to the division into dipodies, and at the same 
time corresponds to the iambic relation ; the second is more 
rare, because it separates the feet of the second dipody. The 
same observation applies to the two principal diaereses. 

Since the character of the iambic rhythm is rapidity and 
flexibility, it prefers the connection of the series by the caesura 
to their separation by the diaeresis; the caesuras, therefore, 
are more frequent than the diaereses. 



164 



IAMBIC STICIIIC RHYTHMS. 



Besides the principal diaereses and caesuras there are also 
secondary diaereses and caesuras. 

secondary diaereses. 



secondary caesuras. 



The first principal diaeresis is frequently found, as Soph. 
Ant. 745. 

Ov yaQ ci^eig, rifAag ys rag S^emv Ttaroov, 

The first principal caesura, the caesura Tzsvd^TjfAifxsQrjg, is 
the usual caesura of iambic trimeters. An apostrophized 
word does not destroy it. The caesura, in this case, occurs 
after a short or long syllable, as Soph. Aj. 12. 

'^Et SQyov iariv, Ivvmuv d' ozov %aQiv, 
Aesch. Choeph. 888. 

/loXoig 6Xoviied'\ coaTzsQ ovv ixTetvafxev, 
Aesch. Suppl. 438. 

Kal dt] TTecpQaafAai ' devQO d' i^oxsXXsrai, 
Aesch. Suppl. 195. 

Bivovg d^8t^so\}\ cog InrjXvdag nqinu. 
The second principal diaeresis divides the verse into two 
equal parts, and renders it similar to our Alexandrines. The 
ancients, however, avoid such verses, and we find them, 
therefore, seldom without some softening modifications, as 
Arist. Av. 200. 

'Edida'^a ttjv q)WV7jV, ^vvcov ttoXvv ^qovov. 
Less striking is the diaeresis when an apostrophized word 
requires a rapid connection of the two parts, as Soph. Oed. 
R. 328. 

ndvteg yaq ov q)QoveXr\ iyco d' ov fiT^Ttoze, 
or when a foot caesura immediately precedes or follows, so 
that either the third arsis or fourth thesis falls upon a mono- 
syllabic word, as Soph. Phil. 1040. Aesch. Sept. 1046. 

L^Zr CO TtazQc^a yyj, {^soi r ino^pioi, 
^AXX ov ndXig otvyeT, av ttfttjaeig zocqicp, 



IAMBIC STICHIC RHYTHMS. 165 

even if the first word becomes monosyllabic by elision, as 
Aesch. Prom. 374. Soph. Elec. 1038. 

XQii^eig ' afavrov (Tco^', oTTcog tniaraaai. 
''Orav yocQ ev (foovf^g, rod^' iiyrjaei Gv v^v. 
Frequently both take place, as Soph. Phil. 15. 
^A)X sQyov ?]d)] GOV, xa Xoixp vnr^Q^^x^lv. 

We must here, as everywhere, be cautious not to take a foot 
diaeresis for a principal diaeresis, and thus unnecessarily 
increase the number of verses resembling the Alexandrines, 
as Soph. Elec. 15. 

Nvv ovv 'OQsara, y.cd av cpiXratE ^svcov, 

has the first principal caesura, not the second principal di- 
aeresis. 

The second and third foot is, in tragic poets, rarely con- 
tained in one word. Where this is the case, the subject 
requires the grave rhythm of such a verse, as Aesch. Pers. 
465, 509. 

^egh^g d' dvcpixco^ev y.ax(Sv oqoov ^a&og. 
QqIi'/^iv TTeQaaavTeg iioyig noXX^ Tiovcp. 

The second principal caesura, or caesura sq)&7]iAifi8Qrig, is,' 
next to the first, the most common, as Soph. Ant. 385. 

Trjvd' eiXofiev S^aTirovaav ' dXXa tcov Kqsoov ; 

The apostrophe does not destroy the caesura, as Soph. Elec. 
1110. 

Ov'A olda TTjv aijv xXr^dov, dlXd iioi yaQcov. 

Sometimes a verse has neither of the principal caesuras or 
diaereses, but a secondary caesura or diaeresis. They make 
usually little impression, and often serve only to emphasize a 
word. The first secondary diaeresis usually effects this in 
addresses, as Soph. Ant. 162, 223. 

'Avboeg, rd ^Iv drj TioXaog dacpaXojg d^eoL 
Ava^, Iq(Z iilv ov^ OTZcog rdiovg vno. 

The second secondary diaeresis has almost no effect what- 
ever, on which account it does not often occur, as Soph. 
Elec. 410. 

'E'/. delixazog rov vvyasQov, doy.ecv ifjior 



166 IAMBIC STICHIC RHYTHMS. 

in like manner the third secondary diaeresis, as Aesch. 
Prom. 830. 

Neither is the first secondary caesura of much effect, ex- 
cept that it serves sometimes to emphasize an important 
word, as Soph. Oed. R. 1040. 

Ovx ' dlXa TTOijAiiv dXXog ixdidcoai [A,oi. 

The second and third secondary caesuras are likewise with- 
out effect, as Soph. Aj. 895. Oed. R. 449. 

Atycx) ds aot top avbQa rovzov, ov TtdXai. 

The fourth secondary caesura is very rare and the word 
next to it usually belongs so closely to what follows that in 
consequence of this connexion the caesura is less striking, as 
Soph. Oed. Col. 573. 

'^i^ar sari iioi zo loinov ovdsv alio, Ttlijv 
EiTTEiv a XQli^^- 

All these caesuras and diaereses divide the verse into two 
parts; there are, however, sometimes trimeters which have a 
double caesura, or a caesura and a diaeresis. Such systems 
consist, therefore, of three series, as Soph. Oed. R. 927, 
1064. 

2,iiyai \ikv al^^ * xavtbg tvdov, (6 ^svs, 
OfAGig TTid^ov iioi, liaaoiAai, [atj Sqcc tdde. 

In connexion with this it should be mentioned that the 
dipodies are separated by the diaeresis which occurs some- 
times in comic poets, as Arist. Nub. 686. 

fpilo^Evog, Mehjatag, AjAvviag, 

Thus the poem of Castorion to Pan was, according to 
Athen. X. p. 454. F., written in trimeters in which the 
single dipodies were separated by the diaeresis. 

2^e rov ^oloig vicpoxTvnoig dvax^i'f^SQOv 
Naiovd"' tdog, d^r/Qovof^M Udv x^ov ^Qxddcav, 
Kli^oco yQa^pii rfid' iv ooq)rj Tidyxleit sttt] 
2Jvvd^slg, dvai, dvayvcoara firj aocpolg xIvslv, 
MovGOTTole '&7JQ, x^Qoivtov og iidliyii leig. 



IAMBIC STICHIC RHYTHMS. 167 

The comic poets, moreover, were allowed to separate each 
foot by the diaeresis, whereby the verse became very bur- 
lesque, as Arist. Vesp. 979. 

Kara^a, 'Aazd^a, xard^a, 'AaTcc^a, xata^rjaoiJ.ai, 
where especially the anapaests seem to require the diaeresis. 
Wherever such verses occur in tragic poets, the diaereses 
are foot diaereses only, as Eur. Hec. 228. 

T^v aojv. (jocpov rot xdv 'Aaxoig, a deT, cpQOVEiv. 
Finally, trimeters occur frequently which have foot caesuras 
and diaereses only. 

(a) The Trimeter of the lamhogrophers. 

The iambographers, among these Archilochus, use the 
trimeter commonly in such a manner as to preserve the 
iambs pure, as 

ndrEQ y^vAafA^a, tioIov icpQaaco rods. 
The tribrach and dactyl occur sometimes, as Archil, in 
Athen. XII. 523 D. E. 

Ovd' eQazog, olog diiop). 2^iQiog Qodg. 
They did not admit the anapaest. 

The Roman lyric poets, too, employed trimeters by the 
line, as Catullus IV, XX, which poems consisted altogether 
of pure iambs; Carm. XXIX, in which in v. 21 alone a 
spondee occurs in the beginning ; and Carm. LII, where the 
spondee occurs in the first two dipodies. 

Horace used the iambic trimeter but once by the line, 
Epod. XVII; with him spondees usually alternate with 
iambs ; he has also the tribrach and dactyl, as v. 12, 65, 74. 

Alitibas atqne canibus homicidam Hectorem. 
Optat quietem Pelopis iniiclus pater. 
Vectabor humeris tunc ego inimicis eques. 

Of the same kind are the iambs of Martial. 

(b) The Trirrieter of the Greek Dramatists. 

{u) The Tragic Trimeter. 

Dignity which is the distincruishing character of tragedy, 
requires that the spondee be frequently admitted in the odd 
places and that trisyllabic feet be more rarely used. The 
subject, however, requires frequently a greater rapidity, and 



168 IAMBIC STICHIC RHYTHMS. 

in that case it is usual to preserve the iambs pure and employ 
more freqiiently resolved feet. 

According to Person's observation (praef. ad Eur. Hec. p. 
30 sqq.) the spondee does not occur in the fifth place, if the 
caesura severs it : 



The spondee, however, is not offensive : 

(1) When the subject requires so grave a rhythm, as Eur. 
Ion. 1. 

lirXag o )[ahA8oi(jt vojzoig ovQavov. 

(2) When the second syllable of the spondee is an enclitic 
or a particle like yccQ, fisv, ds, av, which belongs closely to 
what goes before. The verse has, in that case, usually 
another principal caesura, commonly the second, or, although 
more rarely, the second principal diaeresis, as Eur. Iph. 
Taur. 942. Aesch. Prom. 107. Soph. Elec. 413. 

HXavvoixead^a q)vyadeg * evx^sv iioi TTodoc. 
Olov Ts fxoi rdad' laxi' '&v7]Tolg yao yeqa. 
El iioi )Jyoig zj^v oWiv, aiTZoiji dv tote. 

Similar is the case when a preposition belongs closely to 
what follows, as Soph. Oed. Col. 664. 

QciQaelv [lev ovv tycoye y.avev Trjg e^rjg. 

(3) The spondee is only apparent when the words rjfAiv and 
VfAiv help to form the fifth foot, followed by a word which 
begins with a vowel. For then it should be written rjfA.tv and 
viA,iVf as Soph. Elec. 1328. Oed. Col. 25. 

H vovg ivEaTiv o'vTig vfiiv lyy^vrig. 

Flag yciQ Tig r^vda tovio y 'iniiv siattoqojv. 

(4) The spondee is allowed when an apostrophized word 
requires a connexion with the following word, as Soph. Aj. 
1101. Philoct. 22. 

"E'Eiajz' dvdaaeiv, oov od' '^ysTz oixoO^sv. 
A fAOi 7T()ogtlO(X)v olya, oijiAaiv tit £)[£i. 

Of the same class may be considered the case, when the 
particle dv precedes an apostrophized word. 

(5) When the word ovdtig, ovdtv is divided between the 



IAMBIC STICHIC RHYTHMS. 169 

fourth and fifth foot, it is to be written ovd' elg, ovd' ev, as 
Soph. Oed. Col. 1022. Eur. Ale. 671. 

El d' iyxQareTg cpsvyovGiv, ovd' ?^ dei ttovsTv, 
'Hv d' iyyvg ild^ri S-dvarog, ov8' elg ^ovXerai. 

(6) Position before a double consonant serves as an ex- 
cuse, as Eur. Hec. 729. Androm. 346. Iph. A. 530. 

'HlJ^eTg iilv ovv iojixsv, ovde ipavojASv. 
0svyst TO Tavtrig ocScpQov, dXXd \p8vasrai, 
Kdfx cog VTTsarrjv d^vfia, yccira "ipEvdoiiai. 

(7) Proper names furnish an excuse, as Aesch. Pers. 321. 

A^oo^oJi^, 6 r iad'Xog AqioiiaQdog ^^ccQdeaiv. 

The few verses which remain without coming under one 
of these cases, originate either from a negligent treatment or 
from corruption. 

The tribrach can stand in every place. The older tragic 
poets, however, (before Olymp. 89) have it more rarely. 

The tribrach is allowed in the fifth place then only, when 
after its first short a caesura, though it be even a foot cae- 
sura, occurs, or if an i or a ^ precedes a short vowel, as 
Aesch. Prom. 52. Pers. 501. Eum. 580. 

Ovxovv iTzet^Et deaiid rcgde TiSQi^aleTv, 
2tQathg, Tteqci XQvataXXoTtrjya did noqov. 
Toiavta [xsv tdd' iarcv dixcpozsQa [xeveir. 

The dactyl occurs in the first and third places, as Soph. 
Aj. 846. Aesch. Suppl. 987. 

"HXiE, TiatQcpav triv iiJfjv orav x^ova, 
Kal lAfir dsXTTtoog doQixavei fxoQcp d^avcov^ 

it is excluded from the fifth. 

The anapaest is properly allowed in the first place alone, 
and in the older tragic writers so that it forms one word, as 
Aesch. Prom. 89. 

IIorauMv re Tirjyaly Tiovricov re xvfjidrcov, 
Euripides sometimes admits a foot caesura in the anapaest, 
as Orest. 898. 

'Em rc^de d' rjyoQeve /iiofiridTjg dva^. 
In other places it is excused by such a proper name only as 
15 



170 IAMBIC STICHIC RHYTHMS. 

Otherwise could not be introduced into the verse, as Soph. 
Ant. 11. 

'Efxoc (xh ovdaig fxv&og, Avriyovi], qjiXoov. 
In proper names it was also admitted even where, by a 
transposition of the words, it might have been avoided, as 
Soph. Phil. 794. 

JiydiiefAVOV, o6 MevsXae, timq av avr ifiov. 
The anapaest is often only apparent, as Eur. Orest. 459. 
Soph. Oed. Col. 1361. 

^7icoX6ix7]v, MeviXaE, TwdaQEoog ode. 
Tdd\ (hoTTEQ dv ^W 60V q)0V8COg lAEfiviji^iivog, 

where TvvdccQSOjg per synizesin is to be read as trisyllabic, 
and qjovscog as dissyllabic. 

It is not necessary that the trimeter should always close 
with a complete sentence, but verses ending with a word 
which belongs closely to the following, as an article, prepo- 
sition, conjunction, interjection, are rare, as Soph. Ant. 409. 

ndaav y.QVLV arjQavteg, ^ 'AazHie, tov 
Niyivv, iA.vdo3v re oojfia yv^vMaavreg ev. 
Aesch. Eum. 238. 

^XX^ dfx^Xvv Tjdfjy 7TQogrerQiiJjj(,evov re TtQog 
AXXoiaiv oixoig y.ai noQeviiciaiv ^Qorwv. 

An apostrophized word stands as rarely at the end of a verse. 
This license occurs first in Soph. Oed. R. 29. 

Tg)' ov xevovrat dcofj^a Kadi^ieTov, i^tsXag 3' 
Aidrig X. r. X, 

As an example of the tragic trimeter take Soph. Oed. R. 
1 sqq. 

i^ rsxva, Kad^iov rov naXai via rQoqjrj, 

Tivag tto^' tdQag rdgde fioi. S^od^ere 

'lyariQioig xXddoiaiv i^eoisfiiAevot ; 

TloXig d oijiov iitv ^^vfAiafidroov ysfiet, 

'0[A.ov ds Ttaidvcov re xal arevayixdrcov ' 

Ayoj dixatojv iJirj naQ dyyeXcov, rsxva, 

JtXXojv dxoveiv avrog ood' iXr/Xv&a, 



IAMBIC STICHIC RHYTHMS. 171 

^0 noiai xXsivog Oidmovg xaXovf^evog. 

JllX\ CO VEQai}, (pQ(^Vj ^^^i TtQSTTCDV 8(fVg 

IIqo Tc^vde q}covsiv, Tin rQOTTOj xad'saTate, 
/Jaioavzeg, ^ at^Q^avteg ; o^g d^slovrog av 
'E^ov TTQogao'/.etv Ttav . dvadlyr^tog yaQ av 
Eiijv roidvde fi7j ov xatorAzeiQcop 'idqav, 

(^) The Satj^ric Trimeter. 

As the Satyrdrama stood between tragedy and comedy, 
so the satyric trimeter stood between the tragic and comic. 
The seriousness of tragedy is softened by more frequent 
resolutions and the admission of the anapaest in every place, 
though not frequent. In general the verse is altogether reg- 
ulated by the subject ; it is more tragic in grave passages, 
and more comic in humorous ones. Take as an example 
Eur. Cycl. 1 sqq. 

[2 BQai^iis, did as fivQiovg 8;(cd Ttovovg 
Nvv y^^z iv ijBi] rovfwv evo'&ivu dsfiag • 
ITQcioTOP filp i]viy! sfAfxamjg 'HQag vrto 
NviAcpag oQSiag ixXiTzcov ^/oi; TQoq)ovg * 
'^EiTHza d' d^uq)} yrjyevrj fidyjiv doQog 
'Erd8%og aoj Tzodl TraQaaTnarrjg ysyt^g 
^EyyJladov Itictv i^iiaijv d^evojv SoqI 
"Eyaaiva. cpSQ idojy tovz Idojv ivaQ Xayoo ; 
Ov ^id /li , IrtEi xat ayv)J edeiia Baxyjco. 

(y) The Comic Trimeter. 

The greater flexibility and liveliness which characterize 
comedy, are indicated in the trimeter by frequent resolutions 
and by the admission of the anapaest. The tribraches exclud- 
ed from the sixth place alone. The dactyl is permitted in 
the first, third, and fifth places, though in the last more rare- 
ly, as Arist. Av. 27. 

Ov deivov ovv drji' lanv ruidg deoixivovg. 

The same rule which was stated above with regard to the 
tribrach in the tragic trimeter, applies to the tribrach and dac- 
tyl in the fifth place. Exceptions, however, occur, as Arist. 
Equit. 946. 



172 IAMBIC STICHIC RHYTHMS. 

2iv d\ 00 naq)Xay(x>v, q)daxG)v cpileiv ja i6X0Q6di6ag. 
This anomaly was to be excused especially in proper names, 
as Arist. Pac. 1046, Acharn. 175. 

Mdvrig rig tariv. ov fid /li , dlX 'JeQoylirig 
AlX iy. Aa^iedatfjiovog yccQ ^Aiicpid^eog odL 

The anapaest is admitted in every place, except the sixth, 
as Arist. Vesp. 979. 

Katd^a, 'Aard^a, xard^a, xard^a, xara^i]60fA,ai, 
The fifth foot may be a spondee even if severed by the cae- 
sura, as Arist. Nub. 738. 

Axriv^oag jAVQidxig dyco ^ovlofiai. 
The comic poets seem to have admitted, by a peculiar 
license even the proceleusmatic in the first two dipodies, 
although rarely, as Arist. Plut. 1011. 

NrjttdiJiov dv Kat (pdrtiov VTiexoQiXsto 
Plat, in Schol. ad Eur. Hec. 838. 

Ovzog rig el ; leys rayy, ri ciyag ; ovx eQSig ; 
perhaps also Arist. Thesm. 285. 

To TioTiavoVy oTTcog XaBovaa '&v6co rah S^eaTv, 
An anapaest follows a tribrach then only, when the two feet 
are separated by the diaeresis, as Arist. Ach. 47. Nub. 663. 

Al}.' dd^dvarog ' 6 ydq A[j.q)t&8og JrniriTQog r^v, 
AXexrQvova, xard ravro yiai rov ccQQava. 

An anapaest is not allowed to follow a dactyl, because 
according to trochaic measurement the rhythm would contain 
a proceleusmatic, which is not allowed in trochees : 



Finally, if the fourth foot is an anapaest, a foot caesura 
is avoided in its first short, because the verse in that case 
would be divided into two rhythms joined arrhythmically : 
— / — / — / 

The caesura is, however, less offensive : 

(1) When the first syllable of the anapaest is a monosylla- 
ble closely belonging to the following word, as Arist. Eccl. 
104. 



IAMBIC STICHIC RHYTHMS. 173 

A'vvi d' oQag, TTQazrei, ra iityiat iv r^ TtoXei.. 

(2) If an apostrophe occurs after the first syllable of the 
anapaest, as Arist. Nab. 70. 

'^^()7tEQ MeyayJJijg, ^vaxid' 6/oa^- iy(h d' 8q)r}V. 

(3) If a caesura, usually the Ttevd^rniiiieQrig, precedes, as 
Arist. Ran. 658. 

Tt to TtQayixa tovtl ; Ssvqo ttuXiv ^adiatsov. 

(4) At a change of persons, as Arist. Vesp. 1369. 
Tcov ^vi^iTtotar xXsipavta; 0. nolav avlt]rQida ; 

(5) If the anapaest is preceded by another anapaest, as 
Arist. Pac. 415. 

Kai tov xvxXov TtaQszQooyov vcp aQfxatooXtag. 
As an example of the comic trimeter take Arist. Nub, 
1 sqq. ^ ^ 

'i2 Zev ^aaiXsv, ro XQW^^ '^^^ vv/awv oaov 
^TTSQavrov. ovdeTZod-' i^^iSQa yevi^aezai ; 
Kai [.ujv TidXat y dleyyiQVovog 7]'Aova iyco, 
Oi d' oixetat Qsyxovaiv • d)X ovk dv ttqo tov. 
Jinoloio 8fjr\ oi Tioleixe, ttoXXmv ovvexa, 
''Or ovds Kolda' iiEari fiot tovg oixstag. 
AlV ovd' 6 XQijatog ovroal veaviag 
'EyeiQsrai r^jg vvxrog, dXXd TtEQdstat 
^Ev TibvtE oiavQaig iyxaxoQdvXrj^svog, 

($) The Trimeter of the Roman Dramatists. 

The older Roman dramatists and the fable-writer Phae- 
drus treated the trimeter, which they called senarius after 
the number of its feet, with as great freedom as the trochaic 
rhythms, mentioned above. They allowed the licenses, per- 
mitted by the Greeks in the odd places only, in the even 
places also, with the exception of the sixth. They have also, 
though seldom, the proceleusmatic, and so indeed that it 
was concealed by the pronunciation, as Terent. Eun. I. 2. 
27. V. 2. 32. 

Samia mihi mater fuit, ea habitabat Rhodi. 

Ut solidum parerem hoc mi beneficium, Chaerea. 

The pure iamb, the tribrach and dactyl are rare in the fifth 
foot. 

15* 



174 IAMBIC STICHIC RHYTHMS. 

The caesuras are frequently neglected. 
The hiatus occurs frequently in Plautus in the mvd^rniiiiB' 
QTig, as Mil. IV. 3. 42. 

Nam quos videre — exoptabam maxime. 
It is not rare after the short of the fifth foot, as Asin. IV. 1. 
15, 46. 

In foribus scribat, occupatam — esse se. 
Tollam. quidni? audi reliqua. loquere — audio. 

Finally Plautus allows himself the hiatus in other places : 
when the persons change, as Cure. I. 1. 41. 

Obloquere. FA. fiat maxime. PH. etiam taces ? 
after a strong punctuation, as Cure. I. 1. 46. 

Eam volt meretricem facere : ea me deperit ; 
or in an exclamation, as Aul. II. 8. 22. Merc. II. 2. 13. 

Terii, hercle ! — aurum rapitur, aula quaeritur. 
Salve ! — o quid agis ? quid fit ! quod miserrimus ; 

and perhaps in proper names, as Asin. IV. 1. 59. 
Ancillam ferre Veneri — aut Cupidini. 
It is to be mentioned as a peculiarity of the older Roman 
poets that, because they endeavored as far as possible to 
adapt the verse-accent to the word, they often passed lightly 
over long syllables of those words which in meaning are 
subordinate to others, or over syllables long by position, or 
over syllables naturally long and following a short, as if they 
were short, and this they did particularly at the beginning 
of words, as Terent. Andr. I. 1. 16. 

Sed hoc mihi molestumst : nam istaec commemoratio. 

Andr. II. 6. 8. 

Propter hospitai hujusce consuetudinem. 

Eun. III. 1. 40. 

Dolet dictum imprudenti ddulescenti et libero. 
Plaut. Mil. II. 1. 53. 

Dedi mercatori, qui ad ilium deferat. 

As an example of the tragic trimeter among the Romans 
take the beginning of the Medea of Ennius : 

Utinam ne in nemore Pelio securibus 
Caesa accidisset abiegna ad terram trabes, 
Neve inde navis inchoandae exordium 
Cepisset, quae nunc nominatur nomine 



IAMBIC STICHIC RHYTHMS. 175 

Argo, qua vecti Argivi delecti viri 

Petebant illam pellem inauratam arietis 

Colchis, imperio regis Peliae, per dolum ; 

Nam nunquam hera errans mea domo efFerret pedem 

Medea, animo aegra, amore saevo saucia. 

As an example of the comic trimeter take Plaut. Mil. I. 1. 
1 sqq. 

Curate, ut splendor meo sit clupeo clarior, 

Quam solis radii esse olim, quum sudumst, sclent; 

Ut, ubi usus veniat, contra conserta manu 

Praestringat oculorum aciem in acie-hostibus. 

Nam ego banc machaeram mihi consolari volo, 

Ne lamentetur neve animum despondeat, 

Quia se jampridem feriatam gestitem, 

Quae misere gestit farctum facere ex hostibus. 

The trimeters of Seneca are formed after the model of the 
Greek ; he is fond, however, of the anapaest, especially in the 
first and fifth places. 

(5) :l.^l.s::. 

The lame Trimeter, — Trimeter claudus, scazon, Hipponac- 
teuSj Choliambus, Mimiambus, 

The lame trimeter is a satiric verse, v^hich among the 
Greeks was used especially by Hipponax, Ananius, Babrius, 
Theocritus (Epigr. XXI), and by the comic poet Eupolis; 
among the Romans by Catullus and Martial. It differs from 
the common trimeter by the inversion of the last foot. Reso- 
lutions are rare. The fifth and sixth were probably never 
resolved, although Prise, de metr. Comic, p. 1327, quotes 
a verse of Hipponax, in which the fourth and fifth feet are 
dactyls. 

'Eqsoo yaq ovtco, KvXXrjns Maiddog EgfA^tj, 
The fourth foot was very rarely resolved, as Phoenix Coloph. 
in Athen. XII. p. 530. E. 

Ov TiaQa [idyoiai tzvq ibqov dv8(yr7]6ev. 
Babrius allowed the anapaest in the first place only, and 
among the Romans Martial, as I. 67. 2, 13. 

Fieri poetam posse qui putas tanti. 

Aliena quisquis recitat et quaerit famam. 



176 IAMBIC STICHIC RHYTHMS. 

The spondee is rare in the fifth foot, because it makes the 
verse awkward: Catullus, who uses this measure eight times 
in his poems (Carm. VIII, XXII, XXXI, XXXVII, XXXIX, 
XLIV, LIX, LX.) has it not. Martial sometimes. In Catul- 
lus only four resolutions of longs occur XXII, 19. XXXVII, 
5, 11. LIX, 3. 

Quern non in aliqaa re videre Suffenam. 
Confutuere et putare ceteros hircos. 
Puella nam, me quae meo sina fugit. 
Vidistis ipso rapere de rogo coenam. 

The caesuras are those common in the trimeter. As ex- 
amples take Hippon. in Stob. LXVIII. p. 279 ed. Grot. 

/Iv 7]iisQai yvvaiKog eiaiv tj dear at • 

Hippon. in Stob. p. 519. Gesn. or Anan. in Athen. III. p. 
78. F. ^^ 

Ei ng xad^stQ^e iqvgov iv dofiotg tioXXov, 
Kai ovxa ^aia, Kac dv ?] tQeig av&gcoTtovg, 
rpoti] X 060) ta avKa tov '^Qvaov KQsa6(o. 
Mart. Epigr. II. 65. 

Cur tristiorem cernimus Salejanum ? 
An causa levis est? extuli, inquis, uxorem. 
O grande fati crimen ! o gravem casum ! 
Ilia, ilia dives mortua est Secundilla, 
Centena decies qua,e tibi dedit dotis ? 
Nollem accidisset hoc tibi, Salejane. 

— / •— / — / — / 



(6)-- — — 
Tet7^a?neter acatalectus. 

Versus Boiscius, octonariiis. 

According to Mar. Victor, p. 2528, Boiscus of Cyzicus 
invented it : 

Botoxog ano Kv^ixov, Ttavrog yQaq)svg Tioi^fiaTog, 
Tov oxzaTiovv evqojv ati^ov (Poi^cp ti'&riai dcoQOV, 

The Romans used it in the drama by the line with the 
usual liberties. The spondee and the trisyllabic feet are every 
where allowed ; the last iamb alone is preserved pure. 



IAMBIC STICHIC RHYTHMS. 177 

The verse has either the diaeresis after the second dipody, 
and PJautus uses it commonly so, often allowing himself the 
hiatus and anceps in the diaeresis, as Bacch. IV. 9. 9. Poen. 
IV. L 3. 

O Troja, o patria, o Pergamum — o Priame periisti senex. 
Is me aiitem porro verberat incursat pugnis calcibus ; 

or the caesura after the first thesis of the third dipody, as 
usually in Terence, as Andr. III. 4. 22. 

Nihil est preci loci relictum ; jam perturbavi omnia. 
If the verse has the diaeresis, the second foot of the second 
dipody is commonly pure. 

As an example of this measure take Terent. Eun. II. 3. 
2—6. 

Neque virgo est usquam, neque ego, qui illam e conspectu amisi meo. 
Ubi quaeram, ubi investigem, quem perconter, qua insistam via, 
Incertus sum. una haec spes est, ubi ubi est, diu celari non potest. 
O faciem pulchram : deleo omnis dehinc ex animo mulieres ; 
Taedet cotidianarum harum formarum. — Ecce autem alterum. 

— / — / — / — 

Tetrameter iambicus catalecticus. 

Versus septenarius. 

As the first thesis in the fourth dipody never admits a long, 
the verse appears to be not so much an iambic tetrameter, 
as an iambic dimeter v^ith a catalectic tetrapody. 

As a lyric verse it occurs in the flower-song, preserved by 
Athenaeus, in which the second iamb appears always as 
tribrach : 

TIov (xoi ra i'a ; nov jjloi ra Qoda ; Ttov fioi ta naXa aahva ; 
Tadc ra ia * radi ra Qoda ' radl ra v.aXa ailiva. 

Catullus among the Romans has used this verse, Carm. 
XXV. He observes strictly the diaeresis after the dimeter, 
and admits the spondee in the first and fifth foot only. 

The comic poets used this verse most frequently. The 
principal diaeresis is after the dimeter, which, however, is 
frequently neglected, as Arist. Nub. 1353. 

Kai (A,7]v od^ev ye, tzqojtov t/Q^afxeax^a loidoQsTad^ai. 

The tribrach is everywhere allowed except in the seventh 
foot ; it is more rare in the fourth foot, as Arist. Nub. 1063. 



178 IAMBIC STICHIC RHYTHMS. 

TIolloTg • yovv Uijksvg sXa^e dia tovto tr^v (xd^aiQav* 
The dactyl occurs in the first, third and fifth feet, as Arist. 
Equit 894, 900, 857. 

Kai TTQOtsQov eTiE^ovlsvGs 601 • Tov 'Aavlov oiaxf ixeivov, 
Ov yao rod"' vfistg ^daoiASvot drjTtov 'yive(){yE ttvoqoL 
Tag ela^olag roov dXq)i7cov av xaraXd^oiev tJ^oo^. 

The anapaest is everywhere allowed ; in the fourth and 
seventh feet, however, principally in proper names only, as 
Arist. Ran. 912. Thesmoph. 547. 

A'jiiHia riv tj Aho^rjv, to ttqogcottov ov'j^i dsixvvg. 
'Eysvero MelavmTtag Ttoioov ^I^aidqag re Il7]V8X67T7]v is. 

As an example of the catalectic tetrameter take Arist. 
Nub. 1036 sqq. 

Kai fii)v Tiakai y Eniyvoiiriv %k OTildyxva, xdnEd^viiovv 
Anavxd ravr ivavziaig yvc^iiaiai avvtaQd^ai. 
Eyco yuQ 7]tT0)v ^lev Xoyog dc avzo rovz ixXi^&rjv 
^Ev rotac q)QOvriatalaiv, on TiQwtiarog ImvoriGa 
Kai roTg voiioig xat raig dixaig Tavavrt dvnXs^ac, 
Kai TOVTO TrXetv ij fivQicov 86t d^iov atatriQcov, 
AiQOvixEvov Tovg TjTTovag Xoyovg eTzeiza vixdv. 
2xi\pai ds TTjv Ttaidsvaiv y TisTtoi&ev cog iXsy^co. 
OaTig 68 d'SQ^i^ q)7]6i Xov6d'ai ttqojtov ovk id68iv, 
KaiToi TivcL yvc6pi7]v f^cor 'ip8y8ig Ta d^8Qiid XovTQd ; 

The Roman dramatists, also, used the catalectic tetrame- 
ter very frequently; the Atellan poets in particular are said 
to have delighted in it. They observe the diaeresis after the 
dimeter more strictly than the Greeks. Plautus treats the 
verse as asynartete, allowing himself in the diaeresis the hia- 
tus and anceps, as Plant. Asin. III. 3. 61, 62. 

Sed si tibi viginti minae-argenti proferuntur, 

Quo nos vocabis nomine ? — libertos, non patronos. 

Some few examples occur in Terence, too, as Hecyr. V. 1. 
15 ; 3. 32. 

Est magna ecastor gratia — de istac re quam tibi hdbeam. 
Eum cognovit Myrrhina — in digito niodo me habentem. 

According to the usual licenses the Romans put the spon- 



IAMBIC STICHIC RHYTHxMS. 179 

dee in the even places, too; it is, however, less frequent in 
the fourth foot, and is usually concealed by the pronuncia- 
tion. The spondee may stand even here, if the verse have 
not the diaeresis. The same observation applies to the ana- 
paest which in the fourth place is harsh, if the verse has the 
diaeresis, yet occurs also softened, Asin. III. 2. 36. 

Nimis aegre risum continui — ubi hospitem inclamavit. 

The dactyl is rare in the fourth foot, as Plaut. Cure. IV. 
2. 7. Terent. Hec. V. 3. 34. 

Et nunc idem dico. — Et commeminlsse haec ego volam te. 
Philumenam esse compressam ab eo, et filium inde hunc natum. 

In the seventh foot, besides the iamb, there may stand, 

(1) The spondee, as Terent. Eun. II. 2. 31. 

Ut sibi liceret discere id de me, sectari jussi ; 

(2) The tribrach, as Ter. Eun. II. 2. 41. 

Numquidnam hie quod noljs vides ? te credo, at numquid 
aliud ? 

(3) The dactyl, as Eun. IL 2. 49. 

Detineo te, fortasse tu profectus alio fueras ; 

(4) The anapaest, in such a way that there is no foot 
caesura in the first svllable, as Terent. Heaut. IV. 4. 17. 
Adelph. IV. 5. 78. 

Quid? transeundum nunc tibi ad Menedemum est et tua pompa; 
Sed cesso ire intro, ne morae meis nuptiis egomet sim ; 

(5) The proceleusmatic, which however is more rare, as 
Plaut. Most. I. 3. 18. 

Ergo hoc ob verbum te, Scapha, donabo ego profecto hodie aliqui. 
As an example take Plaut. Rud. II. 1. 1 sqq. 

Omnibus modis, qui paiiperes sunt homines, miseri vivunt, 

Praesertim quibus nee quaestus est, nee didicerunt aitem ullam. 

Necessitate, quidquid est domi, id sat est habendum. 

Nos, jam de ornatu prdpemodum, ut locupletes simus, scitis. 

Hice hami atque haece harundines sunt nobis quaestu et cultu. 

Cotidie ex urbe ad mare hue prodimus pabulatum. 

Pro exercitu gymnastico et palaestrico, hoc habemus, 

Echinos, lepadas, ostreas, balahos captamus, conchas, 

Marinam urticam, musculos, placusias striatas. 

Post id piscatum hamatilem et saxcitilem aggredimur, 



180 IAMBIC STICHIC RHYTHMS. 

Cibum captamus e mari. Sin eventus non venit, 
Neque quidquam captum est piscium, salsi lautique pure 
Domum redimus clanculum, dormimus incoendti. 
Atque ut nunc valide fluctuat mare, nulla nobis spes est. 
Nisi quid concharum capsimus, coenati sumus profecto. 
Nunc Venerem banc veneremur bonam, ut nos lepide adjurit 
hodie. 



Tetrapodia iamhica catalectica. 

Many of the Anacreontic poems, so called, seem to be of 
this rhythm, since in them the anacrusis appears only as 
monosyllabic. The greater part of them may be arranged 
in strophes, as Carm. IX [id' Mehlh.), X [i), XV (D, XVII 
(/), XX (>c/3'), XXIII [ld\ XXXI [7j), XXXIII [y.e\ IN 
(x/f), LXV(6^'); others are composed only by the line, I 
(x/), II [Kd\ XI {g\ XII i^'), XIV (f/3'), XVI (xg'), XIX 
{^a), XXXII ((/), XL (ly), LIX (/), and in part XXVI 
(lig), Theocr. Idyll. XXX. In poems of the later period 
only, as Fragm. II iy^'), the spondee occurs for the iamb. 
The resolution of the arsis also is avoided. The verse has 
not a fixed caesura on account of its shortness. As an ex- 
ample take Anacr. Carm. I. 

QiloD 'k^yEiv 'ArQSidag, 
, Qsloo de Kddiiov adeiv. 

A ^ccQ^irog ds )[OQdaTg 
'^EQcota iiovvov riX^T- 
'^Hpieixpa vevQa ttqcotjv 

Kal rt]v XvQTjv aTtaaav, 

Kdyo3 fxev {idov ad^Xovg 

'HQaxXsovg' Ivqij ds 
^EQcorag dvrsqjMvei, 

XaiQOire Xomov rnuv 

IlQcoeg ' rj Ivqtj yaQ 

Movovg '^EQcorag adei. 

Among the Romans, Seneca has this rhythm in his tra- 
gedies, as Med. 848 sq. He also admits the dissyllabic ana- 
crusis, and hence the verses might be regarded as Anacre- 
ontics : 



DACTYLIC STECHIC VERSES. 181 

Quonam cruenta Maenas 
Praeceps amore saevo 
Rapitar ? quod impotent! 
Facinus parat furore ? 
Vultus citatus ira 
Riget et caput f'eroci 
Quatiens superba motu 
Regi minatur ultro. 

(9)~-"---'l~-----~ 
Two iambic catalectic tetrapodies, aiitipathically combined. 
Caliim. Epigr. XXXIX. 

'0 Av'/aiog Mevoijag ra lo^a ravr Itiutk^v 
'^Ed'r^xs. Trj yjQag zoi didcofj.i y,al qjaQSiQr^v 
2^dQa7ti, rovg d' ocarovg 8)[ovaiv 'EaneQitai. 



n. Verses of the Dactylic-anapaestic kitnd, used by 

THE LINE. 

A. Dactylic Verses, 
(a) Rational Dactyls. 

(1) -"--" 

Dimeter cat, in disyll. — Versus Adonius. 

According to Terent. Maur. p. 2431, Sappho used it by 
the line. As an example he gives the following imitation : 

Primus ab oris 
Troius heros, 
Perdita flammis 
Pergama linquens, 
Exul in altum 
Vela resolvit : 
Saepe repulsus 
Ausone terra, 
Moenia fessis 
Sera locavit; 

16 



182 DACTYLIC STICHiC VERSES 

Unde Latin am 
Post genus orttim 
Altaque magnae 
Moenia Romae. 






(2) 

Metrum encomiologicum. 

It consists of a trimet. dact. cat. in disyl. and a monom. 
troch. acat. It is classed by Kephaestion among the asyu- 
artete verses. As an example he cites from Alcaeus : 

TaQfJieva Xa^TZQa -aiar' iv fxvQdivijcp ' 

and from Anacreon, who is said to have, used this metre in 
several of his songs : 

'OgaoloTiog iilv '^AQrjg cpikiei iA,8vatyjAar. 

(3)'-'-— ~---~ 
Metrum prosodiacum. 

It consists of a trimet. dact. cat. in disyll. cum anacrus. 
with an ithyphallic following. It was used by Archilochus, 
and after him, the comic writers Eupolis, Aristophanes 
(Vesp. 1528 sqq.), Eiibulus, Diphilus, Cratinus and Phryn- 
ichus, employed the verse. 

Hephaestion classes this verse likewise with the asynartete. 

Archilochus always had the diaeresis after the dactylic 
rhythm, as, 

'Eqaaiiovidri XaQilas, XQW^- ^^^ yeXoTov. 

The comic poets often neglected it, and instead had the 
caesura after the arsis of the third dactyl, as Cratinus in 
Athen. VIII. p. 344. F. 

Wricpog dvvarai qjleyvQa delnvov cpiXcov aTzeiQyeiv, 
JBQV'/.ei yaq anav to naqov^ TQiylri ds xav ixayoiro. 

Archilochus allowed himself the spondee for the first dac- 
tyl, as, 

'Aarcav d' ol jasv y^oLiomod^ev Tjoav ' ol ds tioXIoL 



DACTYLIC STICHIC VERSES. 183 

The pyrrhic for the anacrusis is only apparent : 

'Eqsco, TioXv qjiXrad^' STaiQcov, TSQXpsai d" dyiovcor, 
^Ihlmv (jTvyvov tteq iovra, i^7]8s diaktyead^ai, 

for EQtcxi and opilhiv are to be read as dissyllables. 

(4)— — 

3Ietrum Clioerileum, 

It consists of a trimet. dact. cat. in disyll. and a trimet. 
cat. in syil. Choerilus used the verse in his satyrdramas, 
and in such a manner as to keep the thesis of the third foot 
always long and in a monosyllabic word, as, 

'Hv XQovog, cp ^aoilevg rjv XoiQiXog iv ^arvQoig, 
Antiphanes in Athen. XI. p. 471. C. 

T-^g TQvq)£Qag cItzo Aia^ov (jefAvoTzorov atayovog 
niiJQfg, dcpQiZov, haotog de^izeQa 8' eXa^ev, 

Tetrameter dact. cat, in disyll. 

According to Hephaestion used by Archilochus, by the 
line: 

'^dvfieXsg laqleaaa x^XidoL 

(6)-— "—-'- — ~ 
Tetrameter dact, cat. in disyll. with an ithy phallic following, 

A metre used by Cratinus, the comic poet, which Hephaes- 
tion classes with the asynartete verses. As an example he 
cites : 

XaiQtrs, ndvreg S'eoi, ttoXv^cotov novriav 2!eQiq)ov. 



(7) ....... . 

Versus heroicus. 

The heroic or epic hexameter, hexameter dact. cat, in 
disyll. f is the most ancient and most common verse of the 



184 DACTY^LIC STICHIC VERSES. 

Greeks. Fable ascribes the invention of it to a certain 
Phemonoe, a Delphian priestess; and in fact, it was the 
sacred verse in which the oracles were uttered. It is pre- 
eminently suited to repetition by the line, because the indeter- 
minateness of the series, the variety of the caesuras and 
diaereses, and the alternation of spondees and dactyls, made 
it possible to express by it the most various degrees of feeling 
in an appropriate manner. 

We treat first of the caesuras and diaereses of the hex- 
ameter. 

The hexameter is a dactylic rhythm, consisting of inde- 
terminate series, whose beginning and end are marked by 
diaereses and caesuras. 

If the rhythm is divided into two series, either a shorter 
precedes a longer, as a sort of proode, or a shorter follows 
a longer, as an epode, or both are equal. Hence we have 
the following principal caesuras and principal diaereses: 

_v.v._vw^_| v.^_w^_ww_v. caesura nevd^rjiiiiiEQrig . 
/ / — 

_vv._w^^_w |v._v.v_wv._w caesura y^axa rQirov rqoiaiov, 

_v.v._v.w__wv.^_ |wv._v^„w caesura EOpd^rnJiiiieQrig. 

The diaereses which here fall in the thesis, are wanting in 
strength ; hence, in general, they are more rare at the begin- 
ning, more frequent together with feminine caesuras towards 
the end, because the whole rhythm delights in the dactylic 
fall from stronger to weaker. 

Among all the caesuras the Ttevd^rniiiieQrig is the most com- 
mon ; the punctuation also commonly falls upon it, as, 

Anna virumque cano, Trojae qui primus ab oris. 
The apostrophe does not destroy it, as Hom. Odyss. I. 125. 

%2g eiTToyv riytld^', rj d' tOTrsto Tlallag 'A{}rivij. 
It has before all others, the power of prolonging a short syl- 
lable that stands in it, and of permitting the hiatus, as Hom. 
II. Y. 359. Virg. Eel. X. 69. Eel. VII. 53. 

0/^£ "AaaiyvrirE, xoixcaatrs [A£, dog da fj^ot mnovg. 

Omnia vincit amor, et nos cedamus amori. 

Stant et juniperi et castaneae hirsutae. 



BACTYLIC STICHIC VERSES. 185 

The caesura after the third trochee, -/.ata tQitov rqo'^aiov, 
has less power, as Horn. IJ. I. 5. Virg. Ed. II. 6. 

Olcovoiai re Ttaoi * /Siog d' iteleiero ^ovli^. 

O crudelis Alexi, nihil mea carmina curas. 

When a verse has this as a principal caesura, the next 
following foot caesura is usually masculine. 

Sometimes, especially in an interpunction, a hiatus is 
found, as Horn. Odyss. I. 112. Yirg. Eel. II. 53. 

A^i^ov 'Acu nQOTid-evto, ids y.Qsa TZoXXa darevvto, 

Addam cerea pruna, honos erit huic quoque porno. 

The end of the first series may also be denoted by the 
diaeresis after the second dactyl. This, however, takes 
place more rarely, particularly among the Greeks, because, 
as has been remarked above, the verse delights in caesuras 
at the beginning. In Virgil, this diaeresis is not uncommon, 
as Aen, I. 17, 

Hie curriis fait, hoc regnum dea gentibus esse. 

It is commonly followed by a monosyllabic word, so that 
the 7i8vd't]}Ai{X8Qt]g then at least is a foot caesura. 

The icp&r]fxifjieQrig is more rare than the nevd^rniiiieQrig, 
Commonly a foot caesura after the arsis of the second dactyl 
precedes it : 

/lioyevlg AaeQriddri, noXviiriiav 'Odv^aev, 
Insignem pietate virum, tot adire labores. 

The caesura after the fourth trochee, which also, though 
in a feeble manner, marks the end of the series after the 
third dactyl, is a foot caesura but seldom, as Hom. II. IX. 394. 
Tlr^levg d'i]v iioi eTZELza yvvaiKa yafjisaaerai avrog. 

It is often only apparent, namely, when the word following 
it is monosyllabic, and belongs closely to the preceding, as 
Hom. II. XXIII. 116. 

UoD.a d avavra, xaravta, Trdoavtd rs, doxf^id 't rjld^oVy 
or the tcfd^mxijiEQTig precedes, as Hom. II. I. 33. 

iig 'Icpax ' addeiaev d' 6 ytQoov, xat ineid^eTO iivd^cp. 
The Romans avoided this caesura less; Ovid even used it 
often, as Met. I. 342. 

Et quibus est undis audita, coercuit omnes. 

The diaeresis also after the third dactyl divides the verse 
16* 



186 DACTYLIC STICHIC VERSES. 

into two series of three feet ; it is, however, more rarely 
found, because, as the connecting link is wanting, the two 
series fall apart, as Horn. II. I. 53. Virg. A^n. II. 145. 

His lacrimis vitarn damus, et miserescimus ultro. 

Such a verse is commonly softened by the circumstance 
that either the diaeresis is preceded by the 7T8v{)^rjiJi(fiSQ^g, 
though only a foot one, or followed by a monosyllabic word, 
by which a foot scpdr^iAifieQrig is produced. But if neither is 
the case, the hexameter is entirely objectionable, like the 
verse of Ennius : 

Poeni pervortentes omnia circumcursant. 

The TSTQaTTodia ^ovxolr/,^ or the diaeresis after the fourth 
foot lends the verse a certain effeminacy, on which account 
it was used by the Greeks chiefly in elegiac poetry (Simoni- 
des) and bucolic (Theocritus). With this diaeresis, Theo- 
critus delights in a dactyl for the fourth foot, and the short- 
ening of its last syllable by ihe hiatus, as Id. I. 1. 2. 

'^dv ri TO "ipid^vQiaiia koi a mrvg, alnoXE, rriva, 
"^A Ttoxi Taig 7Tayai6i jialiadarai * ddv de xal rv. 

Virgil did not follow his model, Theocritus, in this, since in 
his Eclogues this diaeresis by no means prevails. 

This diaeresis, however, occurs also frequently in the epic 
poets, as Horn. II. I. 44. IV. 88. 

JBij ds xar' OvXviittoiq xaQtjvmv, icooiievog ktJq. 
ndvdaQOv dvzL'&eov di^7](A.8V7], si tzov icpEvooi, 

The poets sometimes have the hiatus in this diaeresis, as 
Horn. Odyss. I. 60. 

'EvtQSTistai (ptXov ijroQ, ^OXv^TTie I ov vv x 'Odvaasvg, 

and, though very seldom, the trochee for the spondee in the 
fourth foot, as Hom. II. XI. 36. Enn. Annal. I. 

T?J 5' £711 fxtv roQyco ^Xo6VQ037iig iarecpdvcoTO. 
Omnis cura viris, uter esset endoperator. 

The Roman epic poets of the Augustan and later periods, 
avoid ending the verse in such a way as to contain the 
Adonius in one word, as Lucr. I. 3. 

Quae mare navigerum, quae terras frugiferentes. 



DACTYLIC STICHIC VERSES. 187 

Proper names, however, excused it, as Virg. Aen. I. 72. 
Eel. VIII. 1. 

Quarum, quae forma pulcherrima, Deiopeam. 
Pastorum Masam Damonis et Alphesiboei. 

The caesura after the long of the fifth dactyl gives the 
same division of series, as the bucolic tetrapody ; but it lends 
the verse at the end an unsuitable energy, and hence is only 
a foot caesura in the better poets, where it occurs, as Horn. 
II. I. 6. 

^E^ ov di] Tu TTQcSta dia(yT7]Tr^v SQiaavrs, 
Ennius sometimes used this caesura not without effect : 

Nam me visus homo pulcher per amoena salicta 
Et ripas raptare locosque novos ; ita sola 
Post ilia, germana soror, errare videbar, 
Tardaque vestigare et quaerere te, neque posse 
Corde capessere ; semita nulla pedem stabilibat. 

The caesura after the fifth trochee, which would equally 
give this division of series, is usually only a foot one and is 
without emphasis, as Horn. II. I. 75. 

Mr^nv 'An6)l(x)vog sxaTf]^eXstao avayaog. 

Besides the principal diaereses and caesuras already treated 
of, and their substitutes, there are the following : 



The caesura after the first arsis has no influence on the 
division of series ; it only serves to render a word more em- 
phatic, as Hom. II. I. 52. Virg. Aen. III. 265. 



188 DACTYLIC STICHIC VERSES. 

Avraq muz avroiai ^sXog s)^e7isvK€g E(fmg, 
Bd)X ' del ds nvQai x. r. X. 

Di, prohibete minas, di, talem avertite casum. 

The first feminine caesura is not emphatic, as Horn. 11. 1. 365. 

Olad^a • rir^ tot ravz ei8viri ndvx dyoQSvco, 
The diaeresis after the first foot changes the division of series, 
but makes no strong impression, as Horn. II. I. 511. 

""iig rpdzo • tfjv d' ovtc nqogicptj v£(peX7]y8Q8ta Zevg, 
Sometimes the hiatus occurs in it, as Horn. II. I. 39. 

2JiA.ivd^8v I EiTTOts toi laqUvi Ini vr]6v tQSxpa. 

The caesura after the second arsis strongly marks the end 
of the series after the first foot, as Hom. II. I. 2. Virg. Aen. 
1.4. 

OvXo(uv7]Vj ^ jivQi ''A'^aioig dlyi ed^rjxe. 

Vi superum, saevae memorem Junonis ob iram. 

The second feminine caesura does the same, but with less 
force, as II. IV. 164. 

'^Eaaezai rj^aQ, orav nor oIcjoIti '^IXiog Iqtj. 

The diaeresis after the fifth dactyl in the Greek writers is 
only a foot one. In the Roman, it is also found as a princi- 
pal caesura, and in that case they are fond of closing the 
hexameter with two monosyllabic words, as Virg. Eel. VII. 
35. 

Nanc te marmoreum pro tempore fecimus ; at tu. 
The verse is riot so good, when the second monosyllable 
has a stronger accent, compared with the first : 
Nosciter ex socio, qui non cognoscitur ex se. 
By the caesura after the sixth arsis, the monosyllable which 
closes the hexameter, especially if preceded by a polysyllable, 
best, if a word of four syllables (choriamb), acquires a particu- 
lar force, which generally produces a comic effect, as in the 
well known verses of Horace, Epist. II. 3. 139. 

Parturiunt montes, nascetur ridiculus mus ; 
Virg. Georg. I. 181. 

Turn variae illudant pestes, saepe exiguns mus ; 
but sometimes also, paints appropriately the great, the mon- 
strous, as Hom. Odyss. VIII. 69. Dionys. Perieg. 759. Virg. 
Aen. II. 250. I. 105. 



DACTYLIC STICHIC VERSES. 189 

rcdav ofjiov 'Aca ttovtov * oqcoqei d' ovQavo&ev vv^. 
'Ea'/aztag ttsqi ds aqii dvarive^uog ixTszazai yd'^v, 
Vertitur interea coelain et ruit oceano nox. 
Dat latas, inseqaitur cumulo praeruptus aquae mons. 

The hexameter is not always to be divided into two series, 
but it very often consists even of three. The verse is most 
complete in its character and most in harmony with the 
equality of the dactylic rhythm, when each series has a like 
number of feet : 



If, however, the series were divided by diaereses, the re- 
sult would be a wearisome uniformity : hence in good poets 
such verses are rare, as Horn. II. I. 78. Horat. Sat. I. 4. 4. 

'H yaQ oioiiai, avdQcc )^oXco6S{a,sv, Sg [.isya Ttavtoov. 

Quod moechus foret, aut sicarius, aut alioquin. 

The beginning of the second series is better marked by 
the caesura, which may be either the TtEvO^miiaeQrjg, or that 
y.aza zqizov rQoyaiov and the end of the second series by the 
diaeresis : 



as Horn. II. II. 94. Virg. Eel. III. 1. 

'OtQVPOva Uvea, /liog ay/8?.og ' ol d^ dysQovro. 
Die mihi, Damoeta, cujam pecas, an Meliboei. 

Horn. II. I. 185. Virg. Eel. III. 3. 

Avzog iciov yJacir^vde, to ohv ysQug • oq)Q ev eld fig, 
Infelix o semper, oves, pecus ! ipse Neaerani. 

The division of rhythms is frequently also the following : 



The end of the first series is marked by the diaeresis, or 
more frequently the beginning of the second by the caesura 
after the second arsis or the second trochee, and the end of 
the second series by the diaeresis : 



190 D\CT\LI<J STICHIC VERSES. 



Horn. II. I. 188, 183, 356. 

"^iig qjdro * JJqldcovi d' a^og ysvsT iv ds oi 7]roQ, 
'H id^sXetg * oq)Q avzog 'i^rig ytQag, avrccQ e^' avtcog, 
^Hziiiijaev * aXo^v yaq 8)[8t ysQag, avrog artovQag, 

The series are not unfrequeiitly divided also in the follow- 
ing way : 



as Virg. Aen. I. 2. 

Italian!, fato profugus, Lavinia venit. 

In general, the variety is very great herein and we shall be 
obliged to confine ourselves to the cases that most frequently 
occur. 

As caesuras and diaereses do not belong to the essence 
of rhythm, there are also verses which have only foot caesu- 
ras and foot diaereses. 

A verse is bad, in which a word ends with every verse- 
foot as in the well known : 

Naper quidam doctus coepit scribere versus. 
Yet Ennius describes by a similar verse : 

Sparsis hastis longis campus splendet et horret, 

the uniformity of a battle-field covered with lances. So also 
the verse of Ennius: 

Disperge hostes, distrahe, diduc, divide, differ, 
describes the separating and breaking of the hostile lines. 
Faulty as is the separation of every verse foot, just as censur- 
able is a too solicitous intertwining of the words, especially 
if the verse has only feminine caesuras, as Voss has strikingly 
shov/n in a verse formed by himself: 

Sole cadente juvencus aratra reliquit in arvo. 
The hexameter is more tolerable if it has only masculine 
caesuras, as Lucret. II. 76. 

Aagescunt aliae gentes, aliae minuuntur. 
A good poet interchanges the different caesuras and diaere- 



DACTYLIC STICHIC VERSES. 191 

ses, for in their variety consists a principal beauty of the hex- 
ameter : hence Nonnus is to be censured, who in the Diony- 
siaca permits the caesura y.aTa tqitov TQO'/^atnv to predomi- 
nate ; Moschus less, who in the epitaph of Bion uses it al- 
most everywhere, since the elegiac tone of the whole requires 
a soft rhythm of this nature. 

The hexameter requires a similar alternation also in regard 
to the feet. In general dactyls are preferred for describing 
what is rapid and animated, spondees for the representation 
of what is weighty, slow and solemn. Farfetched art is, how- 
ever, equally censurable with a heedless carelessness. As a 
model of the truly artistic use of the variety of measure, and 
of the diaereses and caesuras, take Horn. Odyss. XL 593 — 
600. 

Kcu iiTjv 2^iav(pov eiaeiSov y^qartQ cilys 'i'/ovtoL^ 
Aaav ^aazd^ovra ttsXojqiov dfiq)OTtQ]](jrp. 

''HXOI llh, (JX7]Ql7Tl6fA8VOg XBQaiV T8 TTOaiV 78, 

Adav dvco cod'8a'A8 tzotl Xocpov ' akX ot8 fuXloi 
Jl'AQOV VTTBQ^aXeBiv, TOT ccTtoGrQeWaoiB y.Qaraiig 
AvTig ' 87T8ira Tzsdovds xvXivdsTO Idag dvaidrig. 
Avxdq oy dip diaaaxB riraiv6ii8vog ' yiard d' id^wg 
"Eqq88v iy. {xsXscoVy xovirj d' ix yqarog oqcoqbl 

Virg. Aen. I. 81— lOL 

Haec ubi dicta, cavum conversa ciispide montem 
Impulit in latus ; ac venti, velut a^mine facto, 
Qua data porta, ruunt et terras turbine perflant. 
Incubuere mari, totumque a sedibus imis 
Una Eurusque Notusque ruunt creberque procellis 
Africus, et vastos volvunt ad litora fluctus. 
Insequiter clamorque virum stridorque rudentum. 
Eripiunt subito nubes coelumque diemque - 
Teucrorum ex oculis; ponto nox incubat atra. 
Intonuere poli, et crebris micat ignibus aether 
Praesentemque viris intentant omnia mortem, 
Extemplo Acneae solvuntur frigore membra ; 
Ingemit, et, duplices tendens ad sidera palmas, 
Talia voce refert: O terque quaterque beati ! 
Quis ante ora patrum Trojae sub moenibus altis 
Conligit oppetere ! O Danaum fortissime gentis 



192 DACTYLIC STICHIC VERSES. 

Tydide ! mene Iliacis occumbere campis 
Non potuisse, tuaque aniraam banc efFundere dexlra ? 
Saevus ubi Aeacidae telo jacet Hector, ubi ingens 
Sarpedon, ubi tot Simois correpta sub undis 
Scuta virum galeasqae et fortia corpora volvit. 

The fifth foot of the hexameter is commonly a dactyl, but' 
sometimes also a spondee, and a verse which has a spondee 
in the fifth foot is call a versus spondiaciis or spondiazon. 
By the spondee in this place the hexam.eter acquires a grave 
conclusion, and thereby the character of slowness, serious- 
ness and solemnity, as Virg, Ech IV. 49. 

Cara Deuni soboles, magnum lovis incrementum. 

The effect of this spondee is still increased, if preceded by 
one or more spondees, as Virg. Aen. VII. 634. 
Aut laeves ocreas lento ducunt argento. 

There are verses even which consist of spondees alone, as 
Horn. II. XXIIL 221. 

Wv^iiv yuxXriaxcav UarQOxXfjog SedoTo, 

a verse which strikingly delineates the profound grief and 
ardent longing of Achilles for Patroclus. 

If the poet has no definite aim in view, in these verses 
consisting of spondees alone, they are to be censured, as Cat. 
CXV. 3. Lucr. VI. 1135. Ennius: 

Quels te lenirem nobis, neu conarere. 
An coelum nobis naturam introcorruptam. 
Olli respondet rex Albai Longai. 

Among the Greeks, the spondaics are more frequently 
found, than among the Romans; of the latter, Catullus 
most delights in such verses. The Romans are fond of 
closing the spondaics with a word of four syllables, as Catull. 
LXIV. 3, 11, 15, and in many other places: 

Fhasidos ad fluctas et fines Aeetaeos. 

Ilia rudeni cursu prima imbuit Arnphitriten. 

Aequoreae monstrum Nereides admirantes. 

Seldom with a longer, as Cat. LXIV. 286. 

Tempe, quae silvae cingant superimpendentes. 
If a word of three syllables stands at the end of a spondaic, 
it is commonly preceded by a long word which has two ac- 
cents, as Virg. Aen. VII. 631. Cat. LXIV. 298. 



DACTYLIC STICHIC VERSES. 193 

Ardea Crustumerique et turrigerae Antemnae. 
Cum thiaso Satyrorum et Nysigenis Silenis, 

or a word of one syllable, as Virg. Aen. VIII. 679. 

Cum populo, patribusque, penatibus et magnis dis, 

in order that the rhythmical accent may not rest on the final! 
syllable of a word, which, particularly at the end of a verse,, 
fell strangely upon the Roman ear, not accustomed to the 
accentuation of the final syllable. 

The same holds, when the verse ends with an ionic a mi- 
nore, as Virg. Aen. IV. 667. 

Lamentis gemituque et femineo ululatu. « 

A peculiarity of the Roman poets is to be noted, that, 
when the hexameter has the TTevd^rjfKfisQr/g, they are fond of 
closing the two half verses with words which belong together, 
as Virg. Georg. IV. 253. Ovid. Met. I. 4. 

Quod jam non dubiis poteris cognoscere sign is. 
Ad mea perpetuum deducite tempora carmen. 

As to the measure the following remarks are to be made : 

The dactyl can never be converted into the anapaest or 
the proceleusmatic. Ennius only allows himself both feet at 
the beginning : 

Melanurura, turdum, merulamque, umbramque marinam. 
Capitibus nutantis pinus rectosque cupressos. 

Often the anapaest or proceleusmatic is only apparent,-: 
they are then to be removed by a synizesis, as Hom. II. IX. 
5. 

where BoQ8r]g is to be read as a dissyllable, and the fi:rst syl- 
lable to be lengthened on account of the following g, 
Odyss. XXI. 178. 

'Ex ds artarog svetxs ^syav rqoyhv kvdov iovrsg, 
where atsarog is dissyllabic. 
Virg. Georg. I. 482. Aen. XI. 890. 

Fluviorum rex Eridanus, camposque per omnes;. 
Arietat in portas et duros objice postes; 

where fluviorum and arietat are trisyllables. 

The verses called by the grammarians versus TtQoyiicpaXoiy 
which have a syllable too much at the beginning, as Hom. 
Odyss. IV. 682. 

17 



194 DACTYLIC STICHIC VERSES. 

H Einiixevai dfj^corjaiv 'Odvaarjog {^etoio, 
the versus axtcpaXoi, which begin w^ith an iamb instead of a 
spondee, or a tribrach instead of a dactyl, as Horn. II. XXIII. 
2. Odyss. XII. 423. 

'ETzeidrj vfjdg re xal 'EXXi^gTTovzov ixovro, 
^EniTOvog ^e^X^jro, ^oog qivoTo rer8V)(^Mg, 

the versus Xayaooi, which have a trochee in the middle in- 
stead of a spondee, as Horn. Odyss. X. 60. 

Brjv 8ig Aiolov xXvra dcofxara ' rov 5' ixixccvov, 

the iieiovQoi, which end with a pyrrhich or iamb instead of a 
trochee or a spondee, as Hom. II. XII. 208. 

TQcoeg d' iQQiyrjaav, OTtcog i'Sov aloXov ocpiv, 

the doXixoovQoi, which have a syllable too much at the end, 
as Hom. Odyss. V. 231. 

Aemov xai y^aQiev, tteqi dt ^c6n]v ^dXet i^vl\ 

the TtQoyioiXioi, which have a syllable or a time too much in 
the middle, as Hom. II. II. 544. I. 17. 

QojQr^Aag Qiq^eiv Sificov dfxcpi (Jirj'&eaat, 
^TQeidai rs xai dXXoi ivxvijiAidsg ^)[aioi, 

rest on a misapprehension of the grammarians, who trans- 
ferred their doctrines of prosody to the ancients. 

As at the end of a hexameter as well as at the end of every 
other verse, a pause occurs, it must also close with a com- 
plete word, and this is always the case, with few exceptions, 
which are excusable only when the poet has a special object ; 
comp. above, pp. 31, 32. Hence in order to close the hexam- 
eter with a complete word, Homer shortened some words, as 
yiQid^rj, dco^a into xqT and doo and probably also Zrjva into Zrjv 
(II. VIII. 206. XIV. 265. XXIV. 331). In Virgil, however, 
versus hypermetri sometimes occur, as Georg. I. 295. 

Aut dulcis musti Vulcano decoquit humorem 
Et foliis etc. 

Georg. II. 69. 

Inseritur vero et fetu nucis arbutus horrida 
Et steriles platani etc. 

Georg. II. 344. HI. 242. 449. Aen. IV. 558. 

The grammarians mention several other names of different 



DACTYLIC STICHIC VERSES. 195 

forms of the hexameter, all of which, however, are of no 
practical use, as the hexameter xar svottXiov, which resem- 
bles a double trimeter: 



hexameter Xoyoetd/^g or TiohzrAog, because its rhythm ap- 
proaches prose : 



'^TTTtovg ds '^avd^dg sKarov xal TievrrjxorTa. 
Hexametri Priapei, which resemble the different forms of 
the Priapeus. 



Optat ephippiabos piger, optat arare caballus. 
Ciii non dictus Hylas puer et Latonia Delos. 



Aut Ararim Parthus bibet aut Germania Tigrim. 

Among all the ancient measures, the hexameter maintain- 
ed itself longest in the works of the poets in the Latin lan- 
guage. It is probable that as early as the seventh century, 
rhymes passed over from the popular poetry of the German 
tribes into the hexameter and pentameter, and indeed rhymes 
were usually distributed between the middle of the verse 
{7i£v&}]fxiii8Qj]g) and the end, as 

Caseus et pan is sunt optima fere ala sanis. 
Tempore felici multi namerantur amici . 

Such rhymed verses are called leonine. Other trifles are 
omitted. 



(8)- — — -;— 

Hexameter fieiovgog. 



According to Terent. Maur. p. 2425, Livius Andronicus 
used this verse by distichs with the heroic hexameter ; the 
fragment, however, which he quotes is hardly from Livius 
Andronicus. The verse is used by the line in Luc. Trago- 
dop. V. 312 sqq. The grammarians consider this verse as 
a pentameter dactyl, acat. with an iamb following. It seems 



196 DACTYLIC STICHIC VERSES. 

in fact to be formed from the heroic hexameter by the inver- 
sion of the last foot, as the trimeter iamb, scazon, from the 
acatalectic trimeter ; but it receives thereby a soft arrhythmy ; 
hence it could be used appropriately in satirical poetry only. 
According to Hermann (Elem. p. 356) the verse, on ac- 
count of Luc. Trag. v. 323. 

Kovq)ov, iXacpQov, adQi[A.v, ^Qa^v^la^^g, dimdvvov, 
consists of a tetramet, dactyl, acat. with an iambic dipody 
following, the first foot of which commonly appears as a spon- 
dee or dactyl : 



According to others the verse consists of a pentameter 
cat. in syllab. with a cretic following, which commonly takes 
the form of a fourth paeon : 



The caesura is commonly the Ttevd^t^^iiieQrjg, as 
Livlus ille vetus Grajo cognomine suae, 
Ovra /liog ^qovraig 2^aXf^covEog iJqios /3/a, 
or after the third trochee : 

^H' sd'ave ipoXoevra dafxsTaa S^aov q)Q£va ^eXsi, 
'^HnioVy 00 navdrjiie, (p^QOig alyrnia, FIoddyQa, 

The fifth foot appears for the most part as a dactyl, and 
perhaps only in proper names as a spondee, as Luc. Tragod. 
V. 314, 32L 

Ovx EQiaag sx^qt] (I^oi^cp adrvQog Magavag. 
'iig /liog, cog Aarovg^ cog IlaXlddog, cog Uvd^iov, 

(b) AeoHc and logaoedic verses. 

The Aeolic verses, which were often used by the Aeolic 
lyric poets, particularly by Alcaeus and Sappho, consist of 
light dactyls to which a basis is prefixed. The spondee 
could not be put for the dactyl. The verses are sometimes 
acatalectic, sometimes catalectic. In the former case a long 
can be put for the last short of the closing dactyl (comp. p. 
82) ; but it is doubtful whether such verses should not rather 



DACTYLIC STICHIC VERSES. 197 

be measured as logaoedic. The basis appears either as a 
spondee, trochee, iamb, or pyrrhich, and is never, as it seems, 
of three syllables. 

The following verses, according to Hephaestion were in 
use : 

X- / - 

Trimeter cat, in disyllahum. 

6vQcoQ(p Tzodeg STttoQoyvoi, 
Ta ds ad^^ala TtevTe^oeia^ 
Tliavyyoi ds &V i^STiovaaav. 

(2)- ._.. 

Trimeter acat. 
or perhaps logaoedic : 

X- f 



Sappho: 'Egog 8^ avri ^i 6 IvGifjLeXrjg dovsty 
rXvxvmxQOv dfia)^avov oqttetov , 

fpQOvtiadr^v, mt d^ AvdQOfzsdav Ttotri. 



X- f - 

(3)- — 

Tetrameter cat, in disyllahum, 
Tscy (J, (6 (pils yaiJ.^Q8, xalcag iixdadco ; 
OQTiaM ^Qudivc^ aa fiakiat il'xdadco, 

X - / - , 
(4)- — 

Tetrameter acat. 
To 2!a7tq)ixov reaGajQegxaidaxaavXla^ov. 

X- , 

or perhaps logaoedic : -v-wv_vv«vw«w- 
17* 



198 DACTYLIC STICHIC VERSES. 

Sappho frequently used this measure; Hephaestion quotes 
as an example : 

'HQCcfiav (xsv iyo3 aed^ev, ^rd^i, nakai no'Aa, 
Theocritus likewise used it (Idyll. XXIX). In v. 33 and 
39 the spondee is only apparent, as we should read avbqeiav 
and avXetaig. 

X- / - 

(5)— — — 



Pentameter cat. in disyllabiim, 

"Enog AloXrAov. 

If the basis is a spondee, the verse is wholly similar to the 
iheroic hexameter ; hence the name 'inog Aiolmov, 

Khloiial Tivcc rov y^aQiEvra Msvcova yAleaaai, 
El )[QTj aviiTToaiag In ovaaiv iixoc yeyavrjad^ai. 

Of the logaoedic dactyls the following were used by the 
line. 

X- / - 

Phalaeceus liendecasyllahus. 

This logaoedic verse was used among the Greeks by Pha- 
laecus, Theocritus (Epigr. XX.) and others, and among the 
Romans very often by Catullus, Martial, Statins, Ausonius 
and others. Among the Romans the basis appears as spon- 
daic; Catullus only, following the Greek model, allows him- 
self the trochee also, as Carm. I. 9. 

Qualecunque, quod o patrona Virgo, 
the iamb, as Carm. I. 4. 

Meas esse aliquid putare nugas, 
and once the tribrach, as LV. 10. 

Camerium mihi, pessimae puellae. 
He has not the pyrrhich. 

The shorts of the dactyl are not contracted. An exception, 
however, is found, Cat. Carm. LV, where the spondee stands 
fourteen times for the dactyl, as 

Oramus, si forte non molestum est. 
In XL. 1. Catullus has even a versus liypermeter : 



DACTYLIC STICHIC VERSES. 199 

Quaenam te mala mens, miselle Ravide, 
Agit praecipitem in meos iambos. 

The Phalaecean has no fixed caesura. The caesura after 
the long of the dactyl is most suitable, as Cat. Carm. V. I. 

Vivamus, mea Lesbia, atque amemus, 
or after the arsis of the first trochee, as Auson. Epist. IV. 

85. 

Istos composuit Phalaecus dim, 
Qui penthemimerin habent priorem, 
Et post semipedem duos iambos. 
The verse is bad, if a word ends with everv verse foot, as 
Cat. II. 9. 

Tecum ludere, sicut ipsa, possem. 

As an example take Cat. Carm. II. 

Passer, deliciae meae puellae, 

Quicum ludere, quem in sinu tenere, 

Cui primum digitum dare adpetenti, 

Et acres solet incitare morsus : 

Cum desiderio meo nitenti 

Carum nescio quid lubet jocari, 

(Ut solatiolum sui doloris, 

Credo, ut turn gravis acquiescat ardor) : 

Tecum ludere, sicut ipsa, possem, 

Et tristis animi levare curas ! 

Tam gratnm mihi, quam ferunt puellae 

Pernici aureolum fuisse malum. 

Quod zonam soluit diu ligatam. 

X- / X- - / ^ 

(7) . 

This verse, used by Alcaeus, consists of two dactylic- 
logaoedic series with the basis, of which the first is catalec- 
tic, the second acatalectic. A cretic forms the close. Al- 
caeus in Athen. XIV. p. 627. A. B. 

MuQuaiQsi ds (xsyag dofiog /aJ^xcp* Tiaaa 5' '^-^QV >^€xo- 

yfafiTTQatoiv y.vvmiai, xar rav 7.s.vyiOi xad^vTzaQd^ev itt- 

moi Xocfiot 
A'evovaiVf yiecpaXalaiv uvSqcSv aydXiiara' xdlKsat da 

naaadloig 



200 ANAPAESTIC STICHIC VERSES. 

KQVTttolaiv TTeQiKEiiievai XafiTtQat yivaiiiSeg^ aQxog layy- 
QM ^sXsvg X, r. L 

B. Anapaestic Verses, 
(a) Rational Anapaests, 

(1) ^~-~ -""-" 

Dimeter cat* in syllabam. 

Paroemiacus. 

This verse repeated by the line is used for marching-songs 
{ifi^artjQta). The spondee was preferred in the third foot, 
and diaereses after each foot. Tyrtaeus used it thus in 
Dion. Chrys. 11. 57. (Brunck. Anal. I. p. 53). 

Jdyet CO 2!naQrag evdvdQov 
KovQoi TzarsQOJV Ttohrjrai ' 
Aaia [jsv trvv TZQO^aXia&s 
/doQv d' svToXfioog ^aklovrEg, 
Mrj q)£id6fj£V0L tag ^coag • 
Ov yaq ndtQiov rag ^Ttdqtag, 

The comic poets, too, appear sometimes to have used this 
verse ; thus Cratinus in Hephaestion : 

I^iydv vvv knag e^s <ytydv 
Kal Ttdvra Xoyov tdy^a TievaEi ' 
^HfxTv d' 'Id^d'AT] TiatQig lari, 
JlXioiiev d' a^i 'Odvaasi' d^etcp. 



Trimeter cat* in syllah. 

^Efi^aTTiQiov^ Messenicum. 

Likewise a marching-rhythm according to Mar. Vict. p. 
2522. He quotes as an example : 

Superat monies pater Idaeos nemorumque. 

Simmias, according to Hephaestion, composed an entire 
poem in this metre : 

^loria dyvdj an iv^eivojv fiioa toi)(^(x)v. 



ANAPAESTIC STICHIC VERSES. 201 



Tetrameter cat. in syllah. 

Versus Laconicus. Versus Aristophaneus. 

This verse was used partly as a marching-rhythm, partly 
in comedy. The Spartans used it frequently as a marching- 
rhythm, whence it is called versus Laconicus, It had then 
the spondee in the seventh foot, as, 

J^yer\ co ^naqrag hoTikoi xovqoi, tiotl rav J^qeog 'Aivaatv, 

It was early used as a comic verse, as by Aristoxenus, 
Epicharmus, who is said to have composed two entire come- 
dies in this verse, and Cratinus. Aristophanes, too, used it 
frequently, and he usually makes one or more anapaestic sys- 
tems follow after such verses. 

The principal diaeresis is after the fourth foot, so that by it 
the dimeter is separated from the paroemiac. A word which 
belongs closely to the following, as a preposition or the ar- 
ticle, cannot stand before the diaeresis ; hence Arist. Ran. 
1026, is not to be read : 

Eka dtdd^ag rovg Tliqaag [xera rovz iTztd^vfietv idida^a, 
but: 

Eira diddiag lHqaag [xerd rom ijiid^viiEiv i^edlda^a, 
and Nub. 372, not : 

A'^ Tov 'AnolXcx), rovto yi rot r^ vvvl loycp ev TZQoaeqjvaag, 
but: 

Nfj Tov '^^roHoa, rovto yd roi drj rep vvv l6y(p ev nqoaicpvaag* 
The diaeresis is very rarely neglected, as Arist. Av. 600. 
T^v aqyvQicov. ovroi yccQ iaaai. Xeyovai ds rot rdde Tzdrrsg, 

Besides this principal diaeresis a foot diaeresis usually oc- 
curs between the first and second dipody, which is, however, 
frequently neglected. The paroemiac has no fixed diaeresis 
or caesura. 

As regards the measure, the proceleusmatic is everywhere 
excluded, and where it occurred it has been properly removed 
by the editors, as Vesp. 1015, where nQogsxere has been 
rightly changed into TtQOGxeze. 

The dactyl can everywhere be placed for the anapaest, 



202 ANAPAESTIC STICHIC VERSES. 

except in the seventh foot. It is very rare in the fourth foot ; 
Person is inclined to exclude it altogether. Arist. Nub. 326. 

S2g ov aad^OQM. — TiaQcc ryv etaodov. — i^d)] vvn fAohg ovrcog. 

An anapaest is not allowed to follow a dactyl. An excep- 
tion, though very rare, is when the fourth foot is a dactyl, as 
Arist. Vesp. 397. 

u4vtov dt^Gag. — ci fnaQcotars, rl Ttomg ; ov firj Kara^Tjast ; 

If the second foot is a dactyl and the third a spondee, the 
last syllable of the dactyl is not allowed to be the first syllable 
of a word which is an iamb or bacchius: 



as Arist. Eel. 518, not: 

AVf^^ovXotaiv andaaig v(a.Tv, 
but : Svii^oiXoiaiv ndoaig vfjiTv. 

Aristophanes excluded the spondee from the seventh foot, 
and this is the reason why with him the sixth foot is never a 
dactyl ; Cratinus, however, had the spondee, as, 

iig dv fidXlov rocg TZT^daXiotg y vavg rn^i^v Tzacd^aQXVy 

and Aristoxenus : 

2^ig aka^oviav TiXdatav naQt'^Ei r(Sv avd^qcoTto^v ; tot fxdvteig. 

With regard to the prosody, it is to be observed, that a 
long syllable in the anapaest and dactyl can be shortened 
by a hiatus, as Arist. Plut. 528. Nub. 977. 

Om iv bdniaiv ' rig ydq vcpatveiv id^aXfjaei '^qvciov ovrog ; 
HXsiiparo d^ dv tovfjq)aXov ovdelg ndig vTiiveQd^ev tot dv 
wars. 

The prolongation by a mute with a liquid is very rarely 
allowed, and generally then only when another poet is paro- 
died, as Homer in Arist. Nub. 401. Vesp. 652. 

^^XXd rov avrov ye vecov ^dXXet xai 2Jovnov dxQOV '^d^Tjvscov, 
^^rdq, 00 TtdrsQ ruihsQE KQovidrj. — Tlavaai >:al firj TzarsQi^e, 

or a dithyramb, as Nub. 335. 

Tavx dq Inoiovv vyqdv Neq)EXdv atQeTtraiyXdv ddl'ov oQfJidv, 

Finally, a proper name excuses the prolongation, as Av. 
553. Lys. 551. 



ANAPAESTIC STICHIC VERSES. 203 

^ii Ke^Qiova xal UoQCpvQicov, cog aiASQdaXsov to noXiaiia. 
\AXX ^VTTSQ rs yXvxvd^vixog '^Eqcog yji KvnQoyivei 'Aq)Qodirrj, 

As an example of the Aristophanic verse take Arist. Av. 
693 sqq. 

Xdog r^v 'Aat Nv^ '^EQS^og rs [isXav ttqcotov xai TaQtaQog 

svQvg • 
rij 5' ovd' aijQ ovd' ovqavog tjv.^ ^EQs^ovg 5' iv amiQoai 

yioXnoig 
TixTsi TtQcoriarov v7T7]V8iiiov A^v^ ^ lAeXavoTtreQog cpov, 
'Ei, ov TteQireXXoixsvaig coQaig ^^Xaarsv '^EQOjg 6 nod^Eivog, , 
^TiX^odv vojTov TZTEQvyoiv )^QvoaiVf elxojg dvef^coxeai Sivaig, 
Ovrog ds Xdai nrBQoevxi fiiyeig vv^tcp xard TaqraQOv evQVV 
'Eteorrevaev yivog ruiizzqov, xal ttqojtov dv^yayev ig q)cSg, 

Among the Romans, Plautus uses this verse, as Mil. glor. 
IV. 2. 21 — 102. He admits the proceleusmatic, as v. 20. 

Erit, et tibi exoptatum obtinget. — bonum babe animum, ne 
formida; 

he has in the seventh foot the spondee, as v. 31. 

Quid ? ego hie astabo tantisper cum hac forma ct factis ? sic, sic ; 
he resolves the last arsis, as v. 32. 

Frustror? — patere atque asta} tibi ego banc do operam. — pro- 
perando excrucior ; 

he neglects the diaeresis after the dimeter, as v. 30. 

Brevin' an longinquo sermone ? — tribus verbis. — jam ad te redeo, 
and, finally, treats the verse as asynartete by admitting the 
hiatus and anceps in the middle, as v. 24, 43. 

Turn p61 ego, quod celo, baud celo. — imo etiam, sed non celas. 
Quia tis egeat, quia te careat. — ob earn rem hue ad te missa est. 



(4) ..-..-. ._.._. . 

Tetrameter anapaest, acat* 

The tetrameter anapaest, acat. seems to have been used 
by the Roman comic poets in as peculiar a manner as the 
tetram. iamb. acat. Terence, however, has neither; Plautus 
uses it sometimes, as Aulul. IV. 9. Casin. II. 3. Bacch. V. 
1, 2. Such acatalectic tetrameters are usually followed by 



204 CRETIC STICHIC VERSES. 

catalectic (Bacch. IV. 10, in distich combination) or by 
iambic octonarii and septenarii. The same liberties take 
place in this verse as in the preceding, as the ancepg after 
the dimeter, Bacch. V. 1. 7. 

Omnia me mala consectantur — omnibus exitiis interii, 

the hiatus, Casin. IL 3. 10. 

Myropolas omnes sollicito — ubicunque est lepidum ungaentum, 

ungor. 
The diaeresis is frequently neglected after the dimeter, as 
Aul. IV. 9. 3. 

Nequeo cum animo certum investigare : obsecro vos ego, mi 
auxilio. 
The proceleusmatic occurs, as Casin. IL 3. 8. 

Hanc ego de me conjecturam d o m i f a c i o magis quam ex auditis* 

(b) Irrational^ logaoedic Anapaests. 



Anapaestic, qiiadruplex dupUciter iamb. cat. 

Versus Archebuleus. 

According to Hephaestion, the first foot might also be a 
spondee or iamb ; in that case, the verse would rather be a 
logaoedic-dactylic rhythm with the anacrusis, which might 
be sometimes monosyllabic, sometimes dissyllabic. Hephaes- 
tion mentions as an example from Callimachus: 

^^ysTco d^eogj ov yciQ %oa bi'^^a rcovd^ deidetv, 
A^vficpa. ov fA8v dareQiav vcp a^iaiav ydi]. 

Compare Diog. vit. Carn. IV. 65. 

ni. Verses of the one and a half kind used by the line. 
A. Cretic Rhythms. 
/ / / / "^ 

(1) . 

Tetramet, cret, acat. 

This verse was frequently used by the Greek comic writ- 
ers, as by Cratinus in Hephaestion : 



ANAPAESTIC STICHIC VERSES. 205 

'HX-d-Egy ov TiQiv ye decv, 'lad'i aacptg. aXX oTZcog. 
Aristoph. Vesp. 1275 sqq. 



i2 ^axaQi u^vTo^evsg, cog as ^axaQi^Ofiev, 
Tlaidag icpvrevaag ozi, x^'QorsxnxoDTccTOvg, 
TlQcora aev anaoi cpilov ardga re aocpojtarov^ 
Tor KiS-aQaoidorarov, o) xaqig iq)8a'7r8TO, 
Thv d' VTTOXQiTjjv 8TSQ0V, aQjaXlov (og aocpov^ 
Elr '^Qiq)Qddi]v, ttoXv ri "dv^oaocpixcorarov, 
OvTivd nor cjf^oae [xad-ovra naqd [irjdsvog, 
AlX dno aocprjg q)vaeog avrofjiarov ixiia^ecv. 
Simmias likewise has it, as, 

MdzEQ 03 TT^orna, xXvd^t, vvfjicpav d^Qav 
/l(aQi xvuoxzvTTcov rjQav aXicov fiv^^ojv. 

The same has, in one poem, resolved all the arses, except the 
last, as, 

2^s 770T8 Aiog dvd 7iv\iaza veaQS x6q8 vs^QO^^ircov, 

With others, the first three feet are fourth paeons : 

QviieXixdv id'i, iidxciQ, (f}iXoq)Q6'pcog eig 8qiv. 

The principal diaeresis is after the second cretic ; it is, 
however, sometimes neglected. Poets freely separate the 
other feet, also, by diaereses. 

The use of this verse is very frequent with Roman drama- 
tists in the cantica. They treated it very freely. The verse 
is frequently asynartete, so that the anceps or hiatus occurs 
after the dimeter, as Enn. 

Aut auxilio exili - aut fuga freta sim, 

Plant. Amph. I. 1. 86. 

Quisque ut steterat, jacet — obtinetque ordinem. 

Besides this the hiatus and anceps occur also at a strong 
punctuation or a change of persons. 

As an example take Plant. Cure. I. 2. 60 — 67. 

Pessuli, heus pessuli ! vos saluto lubens, 
Vos amo, vos volo, vos peto atque obsecro, 

18 



206 BACCHIC STICHIC VERSES. 

Gerite amanti mihi morem amoenissimr. 
Fite causa mea Ludii barbari, 
Sussilite, obsecro, et mittite istdnc foras, 
Quae mihi misero amanti ebibit sanguinem. 
Hoc vide ut dormiunt pessuli pessumi, 
Nee mea gratia commovent se ocyus. 

f / f / — 

(2) 

Tetrameter cret, cat. 

Plautus has this verse, as Trin. II. 1. 17. The last arsis 
occurs sometimes also resolved : 

Da mihi hoc, mel meum, si me amas, si audis, 
Ibi turn ille cuculus, hem, ocelie mi, fiat : 
Et istuc, et si dmplius vis dari dabitur. 
Ibi pendentem ferit: jam dmplius orat : 
Non satis id est mali, ni ampliast etiam, 
Quod bibit, quod comest, quod facit sumpti : 
N6x datur, ducitur familia tota. 

B. Bacchic Rhythms. 
// // // // 



Tetrameter baccJi. acat. 

The Romans made frequent use of this verse in the can- 
tica of the drama with the liberties mentioned above, p. 127. 

The principal diaeresis after the dimeter is frequently 
neglected, as Plant. Poen. I. 2. 4. 

Habent forte si occeperis exornare. 

Plautus also uses the verse as asynartete, admitting the 
hiatus, as Menaechm. V. 2. 11. 

Repente expetit me — ad sese a me ut irem. 

A dimeter is often intermingled with several tetrameters. 

Sometimes the following iambic close terminates several 
tetrameters : 



As an example take Terent. Andr. III. 2. 1 — 5. 

Adhuc Archylis, quae adsolent quaeque oportet 
Signa esse ad salutem omnia, huic esse video. 



CHORIAMBIC STICHIC VERSES. 207 

Nunc primum fac istaec la vet, post deinde, 
Quod jiissi, ei dari bibere et quantum imperavi 
Date rnox ego hue reverter. 



IV. Verses of the Choriambic-ionic kind used by the 

LINE. 

A. Choriambic Rhythms. 

(a) Choriamllc series loithout the anacrusis and basis ^ icith logaoedic 
terminations. 

/ / / — 

(1) 

Trimeter choriamb. 

Sappho used this verse according to Hephaestion : 

/JevTs vvv, d^Qoi XaQiteg, xaXXixoiAoi zs Motaai. 

Anacreon, in one poem, always resolved the arsis of the first 
choriamb : 

^Avanizoiiai dq TtQog '^OXviinov TZTSQvyaGai Kovcpaig 
/tia rov 8Qcoz\ ov yaQ 8fj.ol Ttaig id-slet avvij^av. 

/ f f f — 

(2) . ..-.-. 

Tetrameter choriamb. 
Callimachus: 
/lai(A0V8g evviivoTaxoi, 0otp8 re xal Zev, didvficov yevaQxai. 

/ / / / / — 
(3) 

Pentameter choriamb. 

Philicus of Corcyra claims to be the inventor of this verse, 
although Simmias had used it previously : 

Trj y^&ovnj iivariy.a /Jj^fAr^TQL rs nal TleQaecpovri nac KXv- 

KaivoyQaq)ovg avvd-sGeoog rijg (DiIlhov, yQaixfiazrAoi, dooQa 
(peQco TiQog vfxdg. 



208 CHORIAMBIC STICHIC VERSES, 

(b) Choriambic series with the anacrusis and logaoedic terminations. 

(i)~- ~ 

Monometer choriamb, 
Sappho : /lidvxe fisv a celava 

Kai nXifiddeg, fisaai 8i 
A^vareg, ndqa d' sqx^^' coQa * 

Dimeter choriamb. 
Sappho : KQrjac>ai vv nod^^ oo5' ifxiJieXsoog noSEaaiv, 
'SiQ)[8vvd'' dnakoig d[iq)' iQoevra ^cofAov, 
Hephaestion considers this verse as an ionic a majore. 

— / / / — 

(3)--_ _.._._. 

Trimeter choriamb, 

Sappho : EvixoQcpotsQa MvaaidUa rag dnaXag FvQivvoig 

^AadQoriqag, ovddfx in oi ^Qdvva, ced^ev tv)^oiaa, 
Hephaestion considers this verse also as an ionic a majore. 

(c) Choriambic series with the basis and logaoedic terminations, 

(1)—— 

Monometer choriamb. 

Sapphicum enneasyllabum. 

Sappho.: Kai xvtaGri zivd '&v[iii^aag, 

X- / / 

(2) 1_..-._ 

Dimeter choriamb. 

Asclepiadeum I. 

This verse was used b}/ Horace Carm. L 1. IH. 30. IV. 8. 
The basis is with him always the spondee, and the diaeresis 
after the first choriamb is carefully observed. The elision 
does not destroy the diaeresis, as HI. 30. 1, 7, 12, 



CHORIAMBIC STICHIC VERSES. 209 

Exegi monumentum aere perennius. 
Vitabit Libitinam. usque ego postera. 
Regnavit populorum ex humili potens. 

Once only the diaeresis is neglected, and that in a proper 
name, IV. 8. 17. 

Non incendia Carthaginis impiae. 
Bentley considers the verse spurious. 

As an example take Carm. III. 30. 

Exegi monumentum aere perennius, 
Regalique situ Pyramidum altius, 
Quod non imber edax, non Aquilo impotens 
Possit diruere, aut innumerabilis 
Annorum series, et fuga temporum. 
Non omnis moriar, multaque pars mei 
Vitabit Libitinam. usque ego postera 
Crescam laude recens, dum Capitolium 
Scandet cum tacita virgine pontifex etc. 

X- / / / - 

Trimeter choriamb, 

X- / / / 

Trimeter choriambicus. 

Asclepiadeum II. 

The Greek lyric poets, Sappho, Alcaeus, Stesichorus, have 
this verse, as it seems, without a fixed diaeresis, as Alcaeus : 

Mr^dlv dlXo q)VT£mrig ttqotsqov devdQeov dixniXco. 
Sappho : 

Kard^avoTaa ds xeLarj. ovdsTto'Aa iivaiioavva aed^ev 
"Eaaer ovdtTio'A elg vazeQov * ov ydq 7Tsd£)^8ig Qodcav 
T(Dv i'A TIiEQiag * aXX dcpavrjg xrjv did a d6fA.oig 
(DoizdaELg, m^ dfjiavQOJV vsxvcov in7t87roTa{A,sva. 
Sappho has the pyrrhich as a basis : 

PodoTtr^/ssg dyvcu XdQtteg devre /liog KOQat. 
Catullus, Carm. XXX, followed the Greeks, but he has 
everywhere the spondee as a basis. 
18* 



210 CHORIAMBIC STICHIC VERSES. 

Horace has this verse, Carm. T. 11; 18. IV. 10. The 
basis is always a spondee ; the diaeresis occurs constantly 
after the first and second choriamb ; once only it is neglected 
in the second choriamb in a compound word, I. 18. 16. 

Arcanique fides prodiga perlucidior vitro. 
As an example take Hor. Carm. I. Jl. 

Ta ne quaesieris, scire nefas, quern mihi, quern tibi 
Finem di dederint, Leuconoe, nee Babylonios 
Tentaris numeros ; ut melius quidquid erit pati, 
Seu plures hiemes, seu tribuit Jupiter ultimam, 
Quae nunc oppositis debilitat pumicibus mare 
Tyrrhenum ! sapias, vina liques, et spatio brevi 
Spem longam reseces : dum loquimur, fugerit invida 
Aetas. Carpe diem, quam minimum credula postero. 

X- / f / - 

(5)_._. . 

Trimeter choriamb. 
Tov arvyvov MelaviTZTZov cpovov al TtarQOCpovcov eQid'OL 

X— / / / / 

(6) — ^-^^ — ^^ — ^'^ — v^^_^ — 

Tetramet. choriamb, 
KQovida ^aailijog yivog, ^lav, tov aqiarov Tted^ '^^^XXsa, 



There are some verses of the choriambic rhythm which 
were used by Greek comic and lyric poets, and were, for the 
greatest part erroneously, numbered by grammarians among 
the polyschematist verses. 

-X-/ x-x- / 

(1)— -I-— - 

Epionicum polyschematistum. 

It consists of two choriambs of which the first has a basis 
and anacrusis, and the second a double basis. Eupolisused 
it according to Hephaestion : 

^il KalXiatrj noki Tiaaojv oaag KXscov icpoQa, 
iig evdaifxcov ttqozsqov t i^aO^a, vvv ds iiakXov kaei. 

The diaeresis after the first choriamb is not always ob- 
served. 



CHORIAMBIC STICHIC VERSES, 211 

X-X-/ X-X- 

(2) 1-. 

Metrum Eupolideum. 

It consists of a choriamb with a double basis, and a cretic 
with a double basis. The comic poets Eupolis, Cratinus, 
Pherecrates, Aristophanes (Nub. 518 sqq.) and Alexis used 
it frequently. 

Aristophanes has in the first and third basis, besides the 
trochee and spondee, the iamb also, as 529. 518. 

'0 acocpQcov rs ^co -AataTtvycov aQiar tjyiovadtrjv, 
a d^ecofAevoi, xazEQOj TZQog viiag iXevd^SQcog, 
and the tribrach in the first basis but once, 539. 

'EQvd^Qov 8^ axQOv, Tia-p Toig naidioig Iv y ysXmg, 
The other comic poets seem to have treated the basis with 
more license. Pherecrates has the anapaest in the second 
basis : 

Kara fxvQOTtcoXeiv ri ^a&ovr ccvSq ixQ^^ 'Aa&rniEVOV. 
and in the third the tribrach : 

^vvidqiov, rolg (xeiQaxioig iv iXdXsi dt ruiiQag, 
The diaeresis after the choriamb is often neglected : 
As an example take Arist. Nub. 518 — 526. 

^ d'EcoiiEvoi, aateQM TtQog vfA.dg iXsvd^SQcog 
TdXrjd'Fj, vrj rov /liovvaov rov iKd^Qsipavrd [xe, 
OvTco vrAi^aaifxi t iyo3 xal vopn^otfA.r]v aocpog, 
'iig vfjidg ^yov(X8vog elvat S^eatdg ds^iovg 
Kai zavxriv cocpcorar 8)[eiv r^v iixojv yyCoixq)di(Sv, 
IlQcotovg Tj^icoa' dvaysvd v(jidg ^ TTaQsaxs i^ot 
"Eqyov TiXeiarov * sit dv8)^(6Qovv in dvdQoov q)OQnK(av 
'HzTTjO^eigy ovx d^iog ojv ' ravt ovv vfA.iv fxeficpofiat 
Tolg (jocpoig, cov ovvex iyco ravT iTTQayiAazevofJtjv. 

/ - f X-X -/ 

(3) 1-^-.-.- 

Metrum Cratineiim, 

It consists of a dimet. choriamb., the second choriamb of 
which always appears as an iambic dipody, and a cretic with 
a double basis. The diaeresis was frequently neglected. 



212 CHORIAMBIC STICHIC VERSES. 

It was employed by the comic poets Cratinus and Eupolis. 
Hephaestion quotes as examples : 

Ems Kiaao'^aTr ava^, ^aiq e(faa>i 'Ex(favtidijg, 
ndvra (poQrjta, Tiavra roX[XT]za rcpde r(p XOQ(^y 
IJXr^v Aeviov voiioiai xai 2J]foivicovog, c6 XaQcov, 
and of Eupolis: 

JlvdQsg szaiQOt, devQO drj tfjv yvcafxrjv TiQogiaxste, 
El dvvatov, xal jtt^ zt [lai^ov Tiqatrovaa tvyidvu, 

(4)- — ~--|- — ~ 
Choriamhicum polyschematistum. 

This verse consists of a dimeter choriamb., the second cho- 
riamb of which appears as an iambic dipody, and a choriamb 
with a logaoedic termination. Besides the comic poets (Eupo- 
lis) Anacreon also used it : 

2iliakov eldov iv X^Q^ nrj'ATid' exovta xaXi^v. 
Eupolis : 

u^lXd diairav, yv 'i^ova oi xoXaxsg, nqog vfxdg, 
^s^Ofiev • dXX^ dxovaad'\ cog ioiisv knavra Y,o\iy\iOi 
J^vdQEg ' otoiai Trgojia fisv ncag dKoXovd^og ianv, 
AXXotQiog td 7zoX7.d, [jii'aqov ds ri xd[xov avtov. 
The diaeresis after the dimeter was frequently neglected. 
X- / x~ - 

(5) ^---1 ^-^ 

Versus Priapeus. 

The Priapean is the only really polyschematist verse among 
those mentioned by the grammarians as such. It consists 
of a Glyconic and Pherecratean ; the former admits of two 
polyschematist forms : 

X- x~ / 



the latter of one: / - 

Anacreon used it in its original form : 



CHORIAMBIC STICHIC VERSES. 213 

^HQiat)iaa fisv itQiov lentov ^ixqov arto^Xag, 
Oivov d' i^emov xddov * vvv d' d^Q(Sg sQoeaaav 
^^dlXoo TTTjKtida ry q)iXri xoofid^cov Tial'dl d^Qy. 
and Catullus Carm. XVII, XVIII, XIX, as Carm. XVIIL 

Hunc lucum tibi dedico consecroque, Priape, 
Qua domus tua Lampsaci est, quaque silva, Priape ; 
Nam te praecipue in suis urbibus colit ora 
Hellespontia, ceteris ostreosior oris. 

The comic poets seem to have used all forms indiscrimi- 
nately. Examples of the polyschematist forms are : 

X- / / - 



Kdv&QvcHOV, jiaXaxcSv r icov Xeifjiaxa, Kat rqicpvXkov, 
x-x- / X- / - 



Ov ^e^7]Xog, c6 teXEtal rov viov /liovvaov, 
x-x- / / - 



Ttz dvadevdQddoov dTiakdg daTtaXdd^ovg Tzaroov tig. 



Kai (xeXiXconvov XaXoov xal Qoda TtQogaearjQcog, 

The last form resembles altogether the choriambicum 
polyschematistum. 

Besides the trochee and spondee, the iamb can be used in 
the bases, as, 

reXdiv d' iTiTZoaiXiva aai xoafioaavdaXa ^aivcov, 
'OdEvojv IlrjXovaiaxov xv8q)aTog na^d riXixa, 
the tribrach : 

'Tti dvadsvdQddcov dnaXdg danaXdd^ovg Ttarojp rig. 
il liaXd^ag ^ih i^OQoov, dvaTtvmv d^' vdmv&ov. 
and, although rarely, the dactyl, as, 

^^v q)8QO(A8v naqd trig S^eov, dv i'AaXtaaato tt^va. 

The diaeresis after the dactyl is strictly observed. The 
elision does not destroy it, as Cat. XVII. 24. 

Si pote stolidum repente excitare veternum. 



214 IONIC STICHIC VERSES. 

The verse is sometimes asynartete ; hence the hiatus and 
anceps in the diaeresis, as, 

^^ q)8Q0[xev TTaqa rrjg deov, av SKaXsaaato ti^va^ 
Catull. XIX. 4. 

Nutrivi magls et magis, ut beata quotannis. 
B. lonici a majore. 

Dimeter catal. in trisyllah. 

Versus Cleomacheus. 

Tig rrjv vdQirjv v[a.mv 
^E\p6q)r^6' ; iyoo ttlvcov, 

(2)- — — ^ — -" 
Tetrameter catalect, in disyllah. 

Versus Sotadeus. 

It was used by Sotades and other poets in ethical and sa- 
tirical poetry; and was, according to Aristides duintilianus, 
never sung, but only recited. Among the Romans, Ennius 
had Sotadics in his satires and in the Asotus, Plautus in 
Amph. I. 1. 14 sqq, Aulul. II. 1. 30 sqq. III. 2. Stich. 1. 1. 
1 sqq. and Martial Epigr. III. 29. 

The verse was treated with great freedom. All the arses 
except the last, aiKi iii Plautus even this, could be resolved 
and the theses contracted ; but with the Greeks this contraction 
is allowed in the second foot only. A long could be put for 
the second thesis of the ionic, especially in the second foot, 
more rarely in the first and third. Finally, the ditrochee 
could everywhere be substituted for the ionic, which was 
often done, particularly in the third foot. The first long of 
the ditrochee could be resolved; in Plautus the second also ; 
finally, it was allowed to put the fourth epitrite for the ditro- 
chee, in Plautus even the dispondee. 

The diaeresis is after the second foot, but it is often 
neglected. 

The pure form : 



IONIC STICHIC VERSES. 215 

'^Av XQvaocpoQrig, rovro rv'/^iig sanv maQiia^ 
and the polyschematist : 

/ / / /— / / /— 

'.^2^ nivrig d^sXcov s)^eiv xal nXovaiog nXiov cx^Tv, 
are rare. Usually ionics alternate with ditrochees. The 
following form is most frequent : 



// // / / / — 



Elg ovx oait]v rqviiakiriv to yJvrqov cod-eTg. 
Mart. Epigr. III. 29. 

Has cum gemina compede dedicat catenas, 
Saturne, tibi Zoilus, annulos priores. 

Resolutions are particularly frequent in the first foot : 
Noiiog iail \)^86g ' tovtov del Tzdvtore tifia. 
IIovXvTToda qjaycov 6 /lioyevr^g coptov T8\}vr]K8v, 
Uoda, yovv, y.orvhjv, darqaydlovg, i^y^ia, ixijQOvg. 

more rare in the second and third : 

2Joq)oxXr^g qdya q^ayojv araqjvXrjg, TTViyeig rs-d'vrixev. 
2^01 rovro yevsaifoj cfiXov, ro as [xrjdtv diaxrsiv. 

As an example of a molossus in the second foot take : 
'H fAr])[anxov TZoirjiA // aocpov (Add'r]ixa, 

of the lengthening of the second short of the ionic : 

in the first foot : deirov cpvaei nxojfievov ddixov avrov eiTZeTv, 
in the second : iiijiov ro xaXov xal lAevaig iv ^ooroig ccQiarog. 
in the third : ex rivog lysvov, y,a\ rig d xal rig ndXiv yivrj. 

of the solution of the first trochee of the polyschematist form : 
in the first foot : i'aov f/^ovaiv avrcov at \pv)[ai ro (j^FQifAvdv. 
in the third : xai yao xard yaiav rd ye yaxd necpvyev alei. 

of the spondee in the first place of the ditrochee: 
in the first and second foot : 

AvrdQyeia yuQ nqog ndaiv rjdovr^ dixaia, 
in the third : 

AfjiCforeoa (Atveiv ovx oidev * earvixev yaQ ovdev. 

Plautus sometimes resolves the arsis, as Aul. III. 2. 24. 
Mearum aedium et conclavium mihi perviam fdcitis. 



216 IONIC STICHIC VERSES. 

He has also the molossus in the first foot, as Amph. I. 1. 15. 

Quo facto aut dicto adcst opus quietus ne sis, 

and the dispondee for the ditrochee : 
in the first foot, as Stich. I. 1. 4. 

De nostris factis noscimus, qucirum viri hinc dbsunt. 

in the third, as Stich. I. 1. 2. 

Quae tarn diu vidua caruit viro, nam nos ejus Animum. 

C. lonici a minora. 
/ / / 

(1) ^^ ^^ 

Dimet. acat. 

Versus Anacreonteus. 

The Anacreontic verse occurs, according to P. 2. ch. 4. 
p. 148, in a threefold form : 



/ / / / 



(a) In the pure form : -^ — ^- — 

2Jreq)dvovg [ilv y^Qotdcpoiaiv. 



(b) In the polyschematist : --- 

^ATTOQlTirOVTai fASQlfA^Vai. 

/ — 

(c) In the broken : v-----^-- 

Msaovvxrcoig nod^ wQaig. 

Of these three forms the third is the most frequent Many 
of the poems, handed down to us under the name of Ana- 
creon, consist of nothing but such broken ionics, as Carm, 
III {la Mehlh.), IV (r), VII (x^'), XXI (rD, XXVtII (i8)y 
XLIII (X§'), XLIV [xf]'), XLVI (x^t), XL VIII (/3'), XLIX 
{xd'f), L (vs), LXIV Fragm. I {v{}'). Many of these poems 
may be divided into strophes. 

In other poems all three forms alternate, but the third is 
always the most frequent, as in Carm. V (^^'), VI {(la), 
XXII (rD, XXIX iig), XXXVI (/), XXXVII {//^'), XXXIX 
(^^'), XLl (Ig), XLII (/.'), LI (rg'), LII (vrj'), LIII (ry, vd'), 
LIV (va). 

The pure form occurs exclusively in a fragment of Ana- 
creon in Athen. XV. p. 671. E. and 673. D. 



IONIC STICHIC VERSES. 217 

'0 Meyiazr^g 6 cpil6cpQ(ov 

/JtKa dt] IA}]V8g, 87T8ld}] 

TQvya 7TIV8C fjeliridta, 
and in Alcman, also, according to Hephaestion : 
'Ey.azov f.i8v /liog vioi 
Tads McoGca '/.ooxoTTSTtloL 

But these fragments may just as well be parts of ionic 
systems. 

The anacrusis of the first ionic appears rarely as a long:, 
in the pure form, as V. 2. 

Miicofiev zJiovvGOj, 
in the polyschematist, as XXXVI. 11. 
TijP ipv/i]v ijiov y.aocKfGov, 
in the broken, as VI. 14, 16. 

Kal rr^g y>a)S;g Kvd^riqr^g, 
Kojfiov fiheiGi )[aiQcov. 

In the broken form the arsis occurs but rarely resolved, as 
XLIIL 8. 

2^v ds q:ihog el yecoQy^v. 

The resolution of the second arsis is more frequent, as 
V. 5. VI. 3. XXXVII. 6. 

IIlPCx)ft8V d^QCC y8ldjVT8g. 
]M8\}V03II8V d^QOC y8ldjV78g. 

'^1^8, TTOjg ysQavog 688V8c. 

The third foot is never permitted to be a spondee, in the 
broken form ; hence verses like XXV. 9. 

2^vv to) ds 7tiv8iv TjiJidg, 
are spurious or corrupt. 

The verse has, on account of its shortness, no fixed diae- 
resis. The pure form, however, delights in a diaeresis after 
the first ionic. 

A peculiar kind of Anacreontic is the form with the iambic 
basis : _ / __ 

It might be derived from the above forms, if we were to 
assume that in the broken form the dissyllabic anacrusis is 
19 



218 IONIC STICHIC VERSESo 

contracted into a long, and then to use the liberty of putting a 
short in its place. But since most poems, which have this 
rhythm, consist of pure iambs, and do not allow either the 
dissyllabic anacrusis or the pure form with the monosyllabic 
anacrusis,* - / / / / 

the verse seems to be rather a tetrapodia iamb, catal. ; com- 
pare above. 

There are remaining several more Anacreontic poems, 
which can be arranged under neither of the above men- 
tioned forms. These are either poems of a very late period 
in political verses, as XVIII (5'), XXIV (kri), or they must 
be otherwise measured, as XXV (ft/). 

'Orav 7TLC0 70V ohov, 

Evdovaiv at ix^Qijivai. 

Ti iioi novoov, Ti yMi y6(x)v, zi iioi fjeXei [isQiiAvdjv ; 

QaveTv jxs dei, >tav iatj S^elco ' ti rov ^lov nXavodfiai ; 

IIlCOfAEV OVV TOV olvOV 

Tov TOV xaXov yivaiov. 
The last two verses : 

2^vv too ds TiiVHv riiAag 
Evdovaiv al lAe^Qifivai, 
appear to have been added by a later writer. 

The following poems may serve as examples: 
Carm. XLVIII (^') 

/lore i^Of XvQ7]v 'OnriQov 
fl^ovifjg avevd^e XOQdijg, 

* Carm. XXX {td'), the metre of which is apparently a dimet. ionic. 
with a monsyllabic anacrusis, consists in fact of Pherecrateans with 
a spondaic basis : 

X / - 



/frjoaoai oreqavoiot 

To} Kdklet TtaatSojy.av 
Carm. XXIII (/^') 16 : Telttv rdv ^^(f^oSirap, like the foregoing, Is 
not genuine. 

Carm. XXVI f^c'), orav 6 Bdxyog shtld-jj Flermann changes into 
otav Bd'/iyog iotXd'r]. The whole poemj lowever, is a cento of 
Anacreontic and other verses, belonging to a later time. 



IONI€ STICHIC VERSES. 219 



0SQ8 fxot vofjovg xEQciaaco, 
Me&vcov OTTcog )[OQev<j03, 
^Ttio acocpQovog ds "kvaarig, 
Mara ^aQ^izcov deidcov, 
To TiaQoiviov ^orjaco. 
Aore ixoi Xvqi^v 'Ojat/qov 
(J^opiyg avEvd^e X^Q^^^- 
Carm. XXXVII f^5') 

'^Ide 71(5 g cpavivrog rjQog 
XccQiTsg Qoda ^qvovcjiv ' 
'^de Ttojg y,v[j,a d^aldaar^g 
'^Ttalvvezcu yah]vri • 
''18e 7i(5g vriaaa xoXvfi^a • 
'788 Ttojg yiqavog odevei. 
"^qjeXojg d' eXafAil^e Titav 
Necpelcxw axial dovovvrai. 
Ta ^Qotav d' iXafA^xpsv sQyu ' 
KaQTtolg yaia jzqoxvtitu. 
Bqoiilov GtQacph to vdfxa 
Kara q)vXXov Kara xXojva 
Kad^8Xa)v TJv&caa xaqnog. 



p). ...... 

Dimeter catalecticus. 

According to Hephaestion, Timocreon wrote an entire 
poem in this metre : 

2Jc'A8X6g xoj^xpog cIvtjq 
Uorl zdv [lazeQ 8cpa, 

ft / / / / 

(3); — — — 

Trimeter acatalectus. 
According to Hephaestion, used by Sappho : 
Ti 118 Ilavdiovig coQccva x^Xtdcov, 



220 



IONIC STICHIC VERSES. 



/ / / / / 



(4) 

Trimeter catalecticus. 
Anacreon : /liovvcov aavlai BaaaaQtSeg, 



/ / / / / / / 



(5) ^^ — ^- — 1^^ — ^-•- pure form. 

/ / / / / / 
" " — I"" "- polyschematist form. 

ww_v._w — |w^_w_v._ broken form. 
Tetrameter catalecticus. 

Galliambus. 

This verse was used by the Greeks and Romans, particu- 
larly in poems to Cybele. 

The pure form is not rare among the Greeks, as, 

IlQocpavojg lovzo dcddaxcov, aTiodvari ^lorriv. 
The anacrusis of the first ionic was sometimes contracted : 

TaXlal, fi7]rQog oQett^g cpiXod^VQGOi dQO^ddeg, 

In the broken form the first half verse always closes with 
the long, as, 

fDvaig ovx sdcoxe fioaxcp T^dlov '^AttiSi arofia. 
The second foot is very often resolved in both half-verses : 



Alg svTsa TTaTayeirai xal ^dhAsa 'AQoraXa. 

The diaeresis after the second ionic is strictly observed. 

Amons^ the Romans, Varro, in his satires, and, according 
to Atil. Fortunat. p. 2677, Maecenas also (Anthol. Lat. I. 
p. 53) used this verse. Catullus (Carm. LXIII.) has also 
Galliambs. He always uses the broken form, with the ex- 
ception of y. 54, where the first dimeter retains the pure 

form : 

Et earum omnia adirem furibunda latibula, 

and V. 60, where the second half verse appears pure: 

Abero foro, palaestra, stadio et gymnasiis. 



IONIC STICHIC VERSES. 221 

The first arsis appears three times resolved, V. 23, 48, 70. 

Ubi capita Maenades vi jaciunt hederigerae. 
Ibi maria vasta visens lacrimantibus oculis. 
Ego viridis algida Idae nive amicta loca colam ; 

the second arsis more frequently, as V. 27. 

Simul haec comitibus Atys cecinit notha mulier. 
The first and second arses are seldom resolved, V. 63. 

Ego mulier, ego adolescens, ego ephebus, ego puer. 

The anacrusis of the first ionic is found contracted nine 
times (V. 5, 15, 17, 26, 40, 67, 73, 77, 86), and then all 
the resolutions of the arses of the first half verse disappear, as, 

Devolvit ilia acuto sibi pondera silice. 

Sectam meam exsecutae, duce me, mihi comites. 

An exception is made in V. 77, in which the second arsis is 
resolved : 

Laevumque pecoris hostem stimulans, ita loquitur. 

The final syllable of the first half verse is throughout long. 

In the second half verse, the anacrusis of the first foot is 
sometimes contracted (V. 18, 22, 34, 73, 83^ 86) : 

Hilarate herae excitatis erroribus animum. 
Tibicen ubi canit Phryx curvo grave calamo. 

The second arsis appears almost always resolved, with the 
exception of V. 35, 73, 76. 

Itaque, ut domum Cybebes tetigere lassulae. 
Jam jam dolet, quod egi, jam jamque poenitet. 
Ibi juncta juga resolvens Cybele leonibus. 

Catullus observed the diaeresis strictly. In V. 37 an 
elision falls upon it : 

Piger his labantes languore oculos sapor operit. 

As an example take the passage in Terentianus Maurus, in 
which he describes this measure: 

Sonat hoc subinde metro Cybeleium nemus, 
Nomenque Galliambis memoratur hinc datum, 
Tremulos quod esse Gallis habiles putant modos, 
Adeo ut frequenter ilium prope ab ultimo pedem, 
Mage quo sonus vibretur studeant dare tribrachyuc 

19* 



222 DISTICH COMPOSITION. 

CHAPTER II. 

DISTICH COMPOSITION. 

Distich composition consists in the combination of a longer 
and a shorter verse into one whole (P. 1. c. 9. p. 34). The 
shorter verse either precedes the other as an introduction, 
proode, or follows it as a conclusion, epode. As the lat- 
ter is more frequently the case, this kind of composition is 
called also the epodic. As among the verses used by the 
line the hexameter is the model for all later compositions, so 
here is the elegiac distich. Several verses used in distichs 
were treated as asynartete. 

The distich kind of composition was chiefly used by the 
gnomic and elegiac poets, the Ionian lyric poets (Archilochus, 
and after him Horace, especially in the Epodes), the satir- 
ists and the epigrammatists. Traces of the same are also 
found in the dramatists, as Aesch. Agam. 1343 — 1346. 

A. '^fiixoiy 7T87Tli]yiAai KacQiav nlriyTjv aaco. 

H. 2^tya * tlq nlriyTiv dvret xaiQicog ovraaiiEvog ; 

A. *'f2[jiOL iiaX avS^ig, devrsQav TtSTilriyiiivog. 

H. TovQyov aiQydad'ai doxEc [zoi ^aaiXscog ol(xc6yixaTi, 
Terent. Andr. II. 1. 1, 2. 

Quid ais, Byrria? daturne ilia Pamphilo hodie nuptum? — sic est. — 
Qui scis? — apud forum mode e Davo audivi — vae misero mihi. 

V. 5—8. 

Quaeso edepol, Charine, quando non potest id fieri quod vis, 
Id velis, quod possit — nil volo dliud nisi Philumenam, — Ah 
Quanto satiust te id dare operam, qui istum amorem ex corde ejicias ; 
Quam id loqui, quo magis lubido frustra incendatur tua. 

Compare Plant. Menaechm. V. 6. 1 — 6, where acatalectic 
and catalectic bacchic tetrameters are combined with each 
other by distichs, and Plant. Bacch. IV. 10. 1 — 9, where 
acatalectic and catalectic anapaestic tetrameters alternate 
with each other. 

The most important combinations by distichs, which we 
arrange according to the rhythm of the principal verse, are 
the following : 



TROCHAIC DISTICH RHYTHMS. IAMBIC. 223 

L Of the double kind. 

A. Trochaic Rhythms. 



(1) 






Trochaicum. — Metrum Hipponacteunu ' 

The proode consists of a tetrapodia trochaica catalect., 
the principal verse of a monometer troch. cum anacrusi with 
an ithyphallic following. 

Horace uses the distich, Carm. II. 18. 

Non ebur neque acre am 
Mea renidet in domo lacunar, 

Non trabes Hymettiae 
Premunt columnas ultima recisas 

Africa, neque Attali 
Ignotus haeres regiam occupavi etc. 

The anacrusis in the second verse, excepting V. 6 and V. 
34, is always short. A resolved arsis is found only once, 
V. 34. 

Regumque pueris, nee satelles Orci. 

The diaeresis before the ithyphallic is always observed. 
B. Iambic Rhythms. 

(1) 



The principal verse is a trimeter iamb, acat., the epode an 
ithyphallic. 
Simonides : 

Oiov rod' riixiv 8Q7T8tov na^imato 

Zcoiov xaxiatov. 
'Avdyer, avayere xojfxov, EVQV)[ooQiav 

T(^ i^£cp TToiEira * 
^E&ilu yaQ 6 'Oeog oQd^og i()CpvQco[A.8vog 



224 IAMBIC DISTICH RHYTHMS. 

(2) 



— / — / — / 



/ — / 



lambicum senarium quaternarium. 

The principal verse is a trimeter iamb, acat., the epode a 
dimet. iamb. acat. 
Archilochus : 

ndtEQ ylvKafA^a^ noiov iqjQaaco rode ; 
Tig cag 7raQi]siQ8v (fqivag ; 

Horace used this distich in the first ten Epodes. As an 
example take Epod. II. 1 — 8. 

Beatus ille, qui procul negotiis, 

Ut prisca gens mortalium, 
Paterna rura bubus exercet suis, 

Solutus omni foenore, 
Neque excitatur classico miles truci, 

Neqiie horret iratum mare, 
Forumque vital et superba civium 

Fotentiorum limina. 

Feet of three syllables, tribrachs, dactyls, anapaests, some- 
times occur in the trimeter, as Epod. I. 27. II. 35. V. 
15. 49. 

Pecusve Calabris ante sidas fervidum. 
Pavidamque leporem et advenam laqueo gruem. 
Canidia brevibus implicata viperis. 
Quid dixit? aut quid tacuit? o rebus meis ; 

in the dimeter more rarely, indeed only three times in all the 
ten Epodes : II. 62. III. 8. V. 48. 

Videre properantes domum. '' 

Canidia tractavit dapes. 
Canidia rodens pollicem. 

The hiatus Epod. V. 100, is to be noted : 

Et Esquilinae alites. 

The trimeter has the usual caesura, the dimeter no fixed 
caesura. 



IAMBIC DISTICH RHYTHMS. 225 

(3) 






A trimet. dact. cat. in syllabam follows the iambic trime- 
ter as an epode. 
Archilochus : 

'Eq803 riv vixiv ahov, c6 Kr^QvyJdrj, 

IIid^}]xog {(£1 d^r^Qmv djioxQix^elg 

Movvog dv scj'j^aritjv, 
Tcp d' CLQ dXoom]^ y.eqdaliri avn^vrero 

rivKvov e^ovaa voov. 



— / — / — / 



(4) 



— / -- / 



Archilochmm tertium. 



An iambic trimeter is followed by a verse composed, in 
the asynartete mode, of a trimeter dact. cat. in syllab. and 
dimet. iamb. acat. Horace has this distich, Epod. XI. 

Pecti, nihil me sicut antea juvat if 

Scribere versiculos amore perculsum gravi, 

Amore, qui me praeter omnes expetit 
Mollibns in pueris aut in puellis urere. 

Hie tertius December, ex quo destiti 
Inachia furere, sylvis honorem decutitetc. 

The trimeter sometimes has feet of three syllables, V. 23 

and 28. < 

Nunc gloriantis quamlibet mulierculam. ? 

Sed alius ardor aut puellae candidae. 

In the dimeter the arses are nowhere resolved. 

In the second verse, at the junction of the series, the short '| 

stands three times ^ox the long, V. 6, 10, 26. | 

Inachia furere, sylvis honorem decutit. '' 

Arguit et latere petitus imo spiritus. 
Libera consilia nee eonturneliae graves. 



— / — / — / 



226 IAMBIC DISTICH RHVTHMS. 

and the hiatus occurs twice, V. 14, 24. 

Fervidlora mero-arcana promorat loco, 
Vincere mollitia-amor Lycisci me tenet. 

The diaeresis after the dactyl is always observed. 
(5) 



An Alcaic verse (dactyl. logaoed. duplex, dupliciter troch. 
acat.) follows the iambic trimeter as an epode. 
Phaedimus : 

Toiov fisv, cp rlyavTog wlsaag ad^ivog, 

'^laie ^vrjg sxdeQy dvdaacov. 
Ov a 01 cpaQitQi] XvEiai Ivxoxrovog, 

Tovds d' In i]i^ioig oiathv 
2JTQ8q)siv '^EQcozog, roq)^ dXt^covrai TzdzQi] 

QaQOaXsoi cpiXorazi xovqcov ' 
IJvQog ydq dXxy, xai S^smv vTttqrarog 

^isv oda TTQOi^dxovg ds^si. 
Meharicovog dog TtatQmov ae^ag 

2J)(^oinscov ETtiriqa diy^d^ai. 



(6) ^- 

X- / 



A Phalaecean follows the iambic trimeter as an epode, 
Theocr. Epigr. XVI. 

Qdaai rov dvdQidvta rovrov, (6 ^svs, 
2J7T0vda xai Xey, Indv eg ohov 8vdi]g, 

Jivay^Qtovrog sixov eldov Iv Tso), 
Tojv TCQoad-' Eizi TTSQiaaov cpdoTTomv, 

IJQOod^alg ds x^^^ '^^^^ vaoiaiv ddszo, 
^EQsTg dtQSxewg olov zov dvdqa 



IAMBIC DISTICH RHYTHMS, 227 

(7) 






— / — / 



The principal verse is a trimeter iamb, claudus, the epode 
a dimet. iamb. acat. : Martial. Epigr. I. 62. 

Verona docti syllabas amat vatis, 

Marone felix Mantua est; 
Censetur Apona Livio suo tellus, 

Ste-llaque, nee Flacco minus : 
Apollodoro plaudit imbrifer Nilus ; 

Nasone Peligni sonant etc. 

A peculiar construction occurs in Theocr. Epigr. XYII. 
It consist of five distichs, of which 1, 3, 5, are combined of a 
tetrameter troch. cat. and an Adonius with the anacrusis, 
which in V. 10, is also of two syllables, but 2, 4, are composed 
of a trimet. iamb. acat. and an Adonius with the anacrusis. 



/ — / — / 



"L^ re (pcora /JwQiog * x^^^Q^ ^ ^^^^ y.wptcpdiar 

EvQoov, 'EmidQiiog. 
i2 Bdy.y£, x^Xyeor viv dvz dXadivov 

T)v cod' avid^rixav. 
Tot ^^vQczxoaacug ividQvvtcu TTEXojQsig ra TioXer^ 

01' dvdQl TtoXiza, 
2(OQov yoLQ sr/8 yQrjpLarojv, iieiivaiitvoi 

TeXeiv Iniyeiqa. 
TJoXXd ydo noridv foori^ rolg naioiv eiTze xorjoiiui. 

MeydXa y/iQig avroj. 



228 DACTYLIC DISTICH RHYTHMS. 



11. Of the equal kind. 

Dactylic Rhythms. 



(1)-' 



— / — / 



Pythiambicum primum. 

Horace uses this distich consisting of an heroic hexameter 
and a dimet. iamb, acat., Epod. XIV. and XV, as XV. 

Nox erat et coelo fulgebat luna sereno 

Inter minora sideia, 
Cum tu, magnorum numen laesura deorum, 

In verba jurabas mea, 
Arctius atque hedera procera adstringitur ilex 

Lentis adhaerens brachiis ; 
Dum pecori lupus et nautis infestus Orion 

Turbaret hibernum mare, 
Intonsosque agitaret Apollinis aura capillos, 

Fore hunc amorem mutuum etc. 

The dimeter has a trisyllabic foot only once, XV. 24. 

Ast ego vicissim risero. 



(2)-> 



Arxliilochium primum. 

The hexameter as the principal verse is followed by a 
trimet. dact. cat. in syllabam, as an epode. Horace has this 
metre, Carm. IV. 7. 

DlfFugere nives, redeunt jam gramina campis 

Arboribusque comae : 
Mutat terra vices, et decrescentia ripas 

Flumina praetcreunt ; 
Gratia cum Nymphis geminisque sororibus audet 

Ducere nuda chores. 



DACTYLIC DISTICH RHYTHMS. 229 

Immortalia ne speres monet annus, et almum 
Quae rapit hora diem etc. 



(3) 



Archilochium secundum. 

The epode consists of a dimet. iamb. acat. and a trimeter 
dactyl, cat. in syilab. Horace uses this distich Epod. XIIL 

florrida tempestas coelum contraxit, et imbres 

Nivesque dedacunt Jovem ; nunc mare, nunc siluae 

Threicio Aquilone sonant; raplamus amici 
Occasionem de die ; dumque virent genua, 

Et decet, obducta solvatar fronte senectus. 

Tu vina Torquato move consule pressa meo etc. 

The iambic series is connected in the asynartete way vvitb 
the dactylic : hence in V. 8, 10, 14, the short also stands for 
the last long of the dimeter : 

Redacet in sedem vice, nunc et x\chaemenio. 

Levare diris pectora solicitudinibus. 

Findunt Scamandri flumina, lubricus et Simois. 

The diaeresis after the iambic dimeter is always accurate- 
ly observed. 



(4)-> 



/ — / — / 



Pythiamhicum secundum. 

The epode is a trimet. iamb. acat. Horace uses this 
measure Epod. XVI. 

Altera jam teritur bellis civilibus aetas, 

Suis et ipsa Roma viribus ruit : 
Quam neque finitimi valuerunt perdere Marsi, 

Minacis aut Etrusca Porsenae manus, 
Aemula nee virtus Capuae, nee Spartacus acer, 

Novisque rebus infidelis Allobrox etc. 

20 



230 DACTYLIC DISTICH RHYTHMS. 

The iambic trimeter is preserved pure throughout, and a 
resolution is nowhere found. 



(5)— — --^ 



Alcmanium. 

The epode is a tetramet. dact. cat. in disyllabum. Ho- 
race uses this measure Carm. I. 7 and 28, and Epod. 
XII. as 

Laudabunt alii claram Rhodon aut Mytilenen 

Aut Ephesum, bimarisve Corinthi 
Moenia, vel Baccho Thebas vel Apolline Delphos 

Insignes, aut Thessala Tempe ; 
Sunt quibus unum opus est, intactae Falladis urbem 

Carmine perpetuo celebrare etc. 

In Epod. XII, the second dactyl in the tetrameter is three 
times contracted into a spondee, V. 8, 14, 22. 

Crescit odor, cum pene soluto. 
Inachia langues minus ac me. 
Cur properabantur ? tibi nempe. 

In Carm. I. 28, the tetrameter has frequently spondees, 
not only in the second, but also in the first, and V. 2, even 
in the third foot. 

Mensorem cohibent, Archyta. 
In V. 24, the hiatus is found in the third arsis: 
Ossibus et capiti inhumato. 
The tetrameter has no fixed caesura ; in Carm. L 7, espe« 
cially from V. 15, probably the beginning of a new ode, the 
caesura after the second arsis prevails. 



(6) 






Distichon elegiacum. 

The epode of the elegiac distich is the pentameter elegia- 
cuSy so called. It originated in the heroic hexameter, inas- 



DALTYLIC DISTICH RHYTHMS. 231 

much as the thesis of the third and sixth foot is occupied by 
a pause ; hence the diaeresis after the third arsis is necessary. 
As It therefore consists of twice two and a half dactylic feet, 
it was called the pentameter. According to the erroneous 
opinion of some grammarians, it is so called because it is 
composed of two dactyls, a spondee and two anapaests. 

The diaeresis after the first trimeter is always strictly ob- 
served; only once in Callimachus it is neglected in a proper 
name: 

'l8Qa vvv ds /JiogxovQideco yEverj. 
An elision does not remove the diaeresis, as Meleag. XII. 4. 
Thv TQindvovQyov '^Eqcoz aTzXaaev iv xQadia. 

Catull. LXVIII. 82, 90. 

Quam veniens una atque altera rursus hiems. 
Troja virum et virtutum omnium acerba cinis. 

The Greeks allowed themselves, though but seldom, the 
hiatus in the diaeresis and the short for the long, as Theogn. 
478, ed. Bekker, 992, 2. 

OvTE ri yaQ vricpo3 ovza Xir^v ^led^vco, 
XaiQriaug. dvvarai aklore aXkog dvi^Q. 
AtjOQi^iai aQ'/^oiievog ovd' d7i07tav6fj.evog, 
Sappho : 'EQfAoxleidao too ^aova'i'dda. 

Many verses in w^hich this occurs are, however, corrupt; 
comp. Friedemann de media syllaba pentametri Graeci. 
A verse in which every foot ends with a word, is bad, as 
Theogn. 456. Catull. LXXVI. 8. 

OvTojg, CfjGTtEQ VVV ovdevog dhog eL 

Aut facere, haec a te dictaque factaque sunt. 

For the first two dactyls of the pentameter, spondees may 
also stand; the last two complete feet must always be dac- 
tyls, as Ovid. Amor. III. 15. 

V. 2. Raditur hie Elegis ultima meta raeis. 

V. 4. Nee me delieiae dedeeuere meae. 
V. 12. Moenia, quae campi jugera pauea tenent. 
V. 18. Pulsanda est magnis area major equis. 

It is considered more elegant if a spondee follows the dac- 
tyl, than the reverse. 

The Romans, especially Ovid and the other elegiac poets 



232 DACTYLIC DISTICH RHYTHMS. 

of the Augustan age and later, like best to close the pen- 
tameter with a word of two syllables, which however in Ovid 
seldom ends with a short vowel, as Heroid. III. 152. 

Pergama, materiam caedis ab hoste pete, 

but commonly with a long vowel or consonant. Tibullus and 
Propertius, and especially Catullus, are less careful in this. 
Words of three, four and five syllables are more rare in 
Ovid, as Pont. I. 8. 40. 

Quolibet ut saltern rure frui liceat. 
Trist. IV. 10. 2. 

Quern legis, ut noris, accipe, posteritas. 

Trist. IV. 5. 24. 

Indeclinatae munus amicitiae. 

The harshest is a word of three syllables coming at the end, 
because then the last arsis but one falls on the final syllable 
of a word, which is contrary to the Latin accentuation. Yet 
Catullus often closes the verse in this manner. The harsh- 
ness is softened, when a monsyllable precedes the final word, 
as Catull. LXV. 8. 

Ereptum nostris obterit ex oculis. 

A monosyllable is not readily admitted in the middle or at 
the end of a pentameter, as Catull. CIII. 2. Ovid. Pont. I. 6. 
26. 

Ambobus mihi quae carior est oculis. 
Omnis an in magnos culpa deos, scelus est. 

The monosyllabic word is less offensive, when another pre- 
cedes it, as Ovid. Pont. I. 6. 46. Fast. VI. 550. 

Magna tamen spes est in bonitate dei. 
Nomina mutarunt, hie deus, ilia dea est. 

It is usual to close a thought at the same time with the 
distich ; several distichs, however, may form a period. 

Both half verses are usually closed with two words that 
belong together, as Ovid. Art. am. I. 13 sqq. 

Qui toties socios, totius exterruit hostes, 
Creditur an no sum pertimuisse senem, 

Quas Hector sensurus erat, poscente magistro, 
Verberibus jussas praebuit ille man us. 

The elegiac distich is by its nature excluded from the 
drama. Euripides uses it only once, Androm. 103 — 116, in 
a passage where the elegiac subject seems to require it. 



DACTYLIC DISTICH RHYTHMS. 233 

According to Athen. XITI. p. 602. C. Dionysius of Athens, 
surnamed the Brazen, used the pentameter as the proode of 
the hexameter, for which however it is less suited : 

EvdaifAcov XaQitoov xai MeldviTZTzog 'icpv 
Qeiag ayrjrriQeg iq)a[xFQioig q)iX6Tarog, 

The pentameter is used by the line only among the later 
poets, as by Heliodorus, Aethiop. III. p. 129. ed. Commel., 
by Philippus of Thessalonica, Epigr. IV (Brunk. Anal. Tom. 
II. p. 212), by Ausonius, Sentent. VII. sap. Thales, and 
Martianus Capella. In Virgil's epigram : 

Hos ego versiculos feci, tulit alter honores } 
Sic vos non vobis fertis aratra boves, 
Sic vos non vobis vellera fertis oves, 
Sic vos non vobis nidificatis aves, 
Sic vos non vobis mellificatis apes, 

the repetition of the pentameter produces a comic effect^ 



(7) 



The epode is a hexameter fiELOVQog. According to Te- 
rent. Maur. p. 2425, Livius Andronicus used these two 
verses combined in the Ino ; but the verses which he cites 
are certainly not by Livius : 

Et jam purpureo suras include cothurno, 
Balteus et revocet volucres in pectore sinus, 

Pressaque jam gravida crepitent tibi terga pharetra 
Dirige odorisequos ad certa cubilia canes. 






(8)-> 



A rckilochium quartum. 

The principal verse consists of a tetrameter dact. acat. 
with an ithyphallic, sometimes perhaps combined in the 
asynartete manner. The epode is a monometer trochaicus 
cum anacr., followed by an ithyphallic. 
20* 



234 DACTYLIC DISTICH RHYTHMS. 

Archilochus : 

Tolog yoLQ cpd6t7]rog SQcog vtio xaQSiTjv eli^d^Eig 
UoXlrjv xaz a)(Xvv 6(AiA,dzcov i)^8vev. 

Simonides : 

MvTjaofAai, ov yaq eoixev dvcovvfxov ivd^dd^ ^AQxevavreco 

Keiad^ai S^avovGav dyXadv dxoiriv, 
Aavd^iTiTtriv IleQtdvdQOv dnixyovov, 6g nod^ vxpiTivqyov 
2!rjl>iaiv8 Xaoig t£Q[/ 8)^cov KoQivd'ov. 
Horace has this distich, Carm. I. 4. 

Solvitur acris hiems grata vice veris et Favoni, 

Trahuntque siccas machinae carinas. 
Ac neque jam stabulis gaudet pecus, aut arator igni 5 

Nee prata canis albicant pruinis. 

The dactylic tetrameter has the caesura Tievd^rniiiiEorig , and 
besides this, the ithyphallic is separated from it, and from 
the trochaic monometer by the diaeresis. The fourth foot 
of the dactylic is never a spondee ; but the third is very 
frequently. 



(9) 



The principal verse is like that in (8) ; the epode is a mo- 
nomet. troch. cum anacr. with a following logaoedicus dac- 
tyl, duplex dupliciter troch. acat. 
Simonides : 

Uolldxi df] (pvlrjg '^KafAavridog iv xoQoTaiv iiQat 

'^vooXolv^av aiaaocpoQoig im di&VQdii^oig 
Ai /liovvaiadeg, [AttQaiat ds xai Qodcov dcoioig 
2^ocpMv aoidcav lamaaav Xmaqdv ed^eiQav, 
Oi top8s TQiTToda acpiGi fxdQtvQa Baxy^iCxiv d^d^lo^v 

Qrjxavto. xeivovg d' '^vnysvrjg ididaaxev dvdQag, 

K. t. 1. 

In the principal verse the diaeresis is once neglected in a 
compound word : V. 9. 

Tdiv i^^OQi^yfjaev xvxXov iieXiyriqvv 'iTiitovixog, 



DACTYLIC DISTICH RHYTHMS. 235 

In the epode, the trochaic rhythm is always separated 
from the dactylic by a diaeresis. 



(10) -^^-^ 

X- / 



The principal verse as in (8) ; the epode is a Phalaeceus 
hendecasyllabus. 

Callim. Epigr. XLTI. 

'leQirj /JrjixrjtQog iyco note, Kal ndliv Ka^eiQcov, 
ilveQ, Kai [xersTtaira /Itvdvfxi^vrjg, 



(11) 



The proode is a Palaeceus hendecasyllabus; the principal 
verse as in (8). 

Theocr. Epigr. XVIII. 

'0 fjiixxog rod' srev^s ta QQuaaa 
MrjSeiog to fxvd[j! em ra 6d(p, x^TtsyQaxpe Klskag. 

E^8L Trjv xaQiv a yvva avzi ri^vmv, 
Hv tov x^Qov 8&Q8xp£. Ti fit^v ; STL XQ^^^H'^ iiaXsltai. 



(12) 



The proode consists of two ithyphallics with an anacrusis 
prefixed ; the principal verse as in (8). 

Callim. Epigr. XLI. 

/IrjiirirQi ttj Uvlairi rrj rovtov ovx TIelaayoov 

^A}iQiaiog rov vrjov idsifjiato, tavd^ 6 NavAQarkrig. 



236 DACTYLIC DISTICH RHYTHMS. 

(13) :.-_._: 



Sapphicum mqjus. 

The proode is a dactyl, logaoed. simplex dupliciter tro- 
chaicus acat. ; the principal verse consists of a nrionometer 
troch. acat., a choriamb, and a dactyl, logaoed. simplex du- 
plic. troch. acat. or a dimet. choriamb, with a logaoedic 
ending. 

Horace uses this distich, Carm. I. 8. 

Lydia, die per omnes 
Te deos oro, Sybarin cur properas amando 

Perdere ? cur apricum 
Oderit campum, patiens pulveris atque solis ? 

Cur neque militaris 
Inter aequales equitat, Gallica nee lupatis 

Temperat ora frenis ? 
Cur timet flavum Tiberim tangere ? cur olivum 

Sanguine viperino 
Cautius vitat ? neque jam livida gestat armis 

Braehia, saepe disco, 
Saepe trans finem jaculo nobilis expedite ? 

Quid latet, ut marinae 
Filium dicunt Thetidis sub lacrimosa Trojae 

Funera, ne virilis 
Cultus in caedem et Lycias proriperet catervas ? 

In the proode there is after the dactyl a diaeresis; in the 
principal verse, a caesura after the first arsis of the choriamb, 
and the diaeresis after the second arsis of the same. 

In the trochaic dipody the second foot is always a spondee. 



(14) 



The proode consists of two logaoedic series, namely, a 
dactyl, simplex tripliciter troch. cat. and a dactyl, simplex 
duplicitur troch. cat. ; the principal verse of a dactyl, simplex 
tripliciter troch, cat. and a dactyl, duplex dupliciter trochai- 
cus cat. 



CHORIAMBIC DISTICH RHYTHMS. 237 

Scol. apud Ath. I. p. 23, and XI. p. 503. 

TIai TelaiKavog Alav ai)[[ji7]ra, 7Jyovai as 
'Eg TQo'iav aQiarov iXd^eiv /Javaojv ixer' 'AiiXkia, 
Tov TtlaiiMva tiqojtov, Aiavza ds devzeQOv 
'Eg TQotav leyovciv ild^elv /JavacSv fxez 'A'/iDJa, 

Scol. in Dion. Chrys. Or. II. p. 95. 

Eid^e XvQa xaXrj yevoifirfi^ llecpavrivri, 
Kai fAS y.aXol jracdeg cp^Qoiev /liovmiov ig yoqov • 

Et^' anvQov xaXov yEvoiixriv [xeya yi^Qvaiov, 
Kai lie xaXri yvvrj cpoQOirj xa&aQov \)^8[A8V7] voov. 



in. Of the Choriambic -ionic kind. 

X- / 



(1) 



X- / 



Asclepiadeum secundum. 

The proode is a Glyconic; the principal verse an A scle- 
piadean, a dimeter choriamb, with the basis and logaoedic 
ending. Horace uses this many times : Carm. I. 3 ; 13 ; 19 ; 
36. III. 9; 15; 19; 24; 25; 28. IV. 1; 3, as, 

Sic te diva potens Cypri, 
Sic fratres Helenae, lacida sidera, 

Ventorumque regat pater, 
Obstrictis aliis praeter lapyga, 

Navis, quae tibi creditum 
Debes Virgilium, finibus Atticis 

Reddas incolumem, precor, 
£t serves animae dimidium meae. 

In both verses, the basis is always a spondee, the diaeresis 
in the second verse always after the first choriamb; the eli- 
sion does not remove it, as I. 3, 36. III. 24, 52. IV. 1, 22. 

Perrupit Acheronta Herculeus labor. 
Pravi sunt elementa, et tenerae nimis. 
Duces tura, lyraeque et Berecyntiae. . 



238 TRISTICH RHYTHMS. 

Carm. I. 13, 6, a short in the diaeresis is used long : 

Certa sede manet, humor et in genas. 

Carm. I. 3, 36, a short is prolonged by the arsis : 

Perrupit Acheronta Herculeus labor. 

Carm. IV. 2, 35, a versus hypermeter occurs : 

Car facunda parum decoro 
Inter verba cadit lingua siientio. 

In Carm. III. 9, every two distichs form a strophe. 
(2) _._.._._ 

X- / / / - 



The proode is a Glyconic; the principal verse a trimeter 
choriamb, with the basis and logaoedic termination. 
Anacreon : 

ntrQ7]g, eg noXiov xvjAa }ioXv[^§(S [Jied^vcav eQOoti, 



The combination of three verses into a whole, the compo- 
sition xara ZQiarixoVy was tried, though more rarely, by 
epigrammatists. We mention as examples : 
Simonides in Hephaestion : 
/ ■— 

«v.v_ww_ww_v.w_ww_v. hexameter heroicus. 

-w.._v.w_|_v.w_ww_ pentameter elegiacus. 



— / — / — / 



^---^-^-^-^- trimeter iamb. acat. 
'7ad^fjiia, dig A^sfxea, dig 'OXvfXTtiu latEcpavcod^riv 
Ov TiXdrEi vixcSv OMfxarogy dXXa ti^va^ 
'ydQiaroddfxag d^Qaovg ^AXeiog naka, 
Theocr. Epigr. XIX. 

_ow_..w_wo_^w_v>_w_.. tetram. dact. acat. c. ithyph. 

^«s._v._w_v._.._ trimet. iamb. acat. 



— J — / 



trimet. iamb. cat. 



POLYMETRIC RHYTHMS. 239 

Tov rcov lafA^coi^, ov to fiVQiov yJJog 
/iiijXd^e y.rim vivaa xai TtQog doj. 

Anacreon in Athen. XII. p. 533. E. 

/ / / — / 

-wv. — w w_ r_v.v._|w_v._ twice. Tetram. choriamb. 

^-^-^-^- dimeter iambicus acat. 
IIqi'p 118V f/cov ^SQ^tQiov yaXvfifAai i(jq)7]y.0Qpitva, 
Kal ^vXivovg daiQaydlovg iv coal, yal xpilov ttbqi 

nisvQTiat [dtaayaiv] ^oog 
N^onXvTov ^{Xv\ia ycv/Sjg danidog, aQTOTiajXiaiv 
Krjd^aXoTioQvoioiv ofxilsMv 6 Tzovr^Qog 'Aqz8iicx)v, 

Ki^driXov evQiaxodv ^lov, 
UolXd iilv iv dovQi zid^eig av'/^iva, nokXa d' iv TQoy^(^, 
UoXXd ds vcoTcp axvTivrj fAacjTiyt d^wiiiy&eig, x6[A}]v 

Uojyojvd X Ivaaxikiiivog ' 
Nvv d* BTTi^aivei (jarivecov /Qvasa (poQt'cov xad^tQ^iata 
TIaig 6 Kvy.r^g, yal Gyiadiayj]v iXecpavTivr^v cpoQEi 

rvvai'^iv avTOjg . 

Later poets went even farther, and combined longer and 
shorter verses, by which they formed various figures, as al- 
tars, axes, pipes, eggs, wings, etc. As an example take the 
poem Pasiphae, composed of all the verses used by Horace : 

Filia Soils 

Aestuat igne novo ; 

Et per prata juvencum 

Mentem perdita quaeritat. 

Non illam thalami pudor arcet, 

Non regalis honos, nee magni cura mariti. 

Optat in formam bovis 

Convertier vultus sues 

Et Proetidas dicit beatas 

loque laudat, non quod Isis alta est, 

Sed quod juvencae cornua in fronte erigit 

Siquando miserae copia suppetit 

Brachiis ambit fera colla Tauri 



240 SYSTEMATIC COMPOSITION. 

Floresque vernos cornibus illigat 

Oraque jungere quaerit ori. 

Audaces animos efficiunt tela Cupidinis 

lllicitisque gaudet 

Corpus includi stabulis se faciens juvencam 

Et amoris pudibundi malesuadis 

Obsequitur votis et procreat, heu nefas ! bimembrem, 

Cecropides juvenis quern perculit fractum manu, 

Filo resolvens Gnossiae tristia tecta domus. 



CHAPTER III. 

SYSTEMATIC COMPOSITION. 

We nnderstand by ov(JZ7](xa i^ optomv the repetition of one 
and the same series. The series, which is repeated, is either 
a simple one, as in the anapaestic, or compound, as in the 
Glyconic systems. It is left to the poet, to repeat the same 
rhythms as often as he pleases ; hence there are longer and 
shorter systems. 

The single series in a system are intimately connected, so 
that neither the hiatus nor the anceps is allowed ; some poets, 
however, especially lyric poets, seem to have treated the sys- 
tems also as asynartete. It is not necessary that a word 
should end with the series, unless it be the closing series. 
The close of the system is rhythmically marked by the cata- 
lexis or a particular conclusion ; metrically, by the admission 
of the anceps and hiatus. The systems are frequently di- 
vided into several parts, and such are called ovarrj^ara xard 
TisQioQiGfAovg dvioovg, to distinguish them from the aTzsQio- 
Qiata, which run on, without interruption, to the end. Two 
or more systems often correspond as strophe and antistrophe : 
ovaTTiiiara i^ oiioiwv y.ard aitaiv. The correspondence of an- 
apaestic systems in the dramatists is often used with great art. 

The Ionian and Aeolian lyric poets were probably the 
first to use systems, and from these the dramatists borrowed 
them. The higher Dorian lyric poetry is unacquainted with 
the use of independent systems; in the artful strophes of 
Pindar, however, and of the dramatists, series systematically 
repeated frequently occur. 



TROCHAIC SYSTEMS. 241 

I. Systems of the double kind. 

A. Trochaic Systems. 

They were frequently used by the lyric and comic poets. 
They consist principally of dimeters, often, however, so that 
a m.onometer besides remains. The catalexis marks the close : 



Resolutions of the trochees are permitted. The dactyl is 
allowed in proper names only. The trochaic systems are, 
in comic poets, usually preceded or followed by trochaic 
verses. 

As an example take Aristoph. Yesp. 342 sqq. 

Tovz IzoXiiria o fiiaoog )ra' 
vstv 6 /J}][j.oXoyoKX8cov od\ 
'On Xsyeig 6v xi ttsqI xojv re- 
wv dXf]{}8g. ov yoLQ av Tzod'' 
OvTog avt]Q tovz' izolixij' 
68P X^yaiVj ei 
M'tj ^vvcofxotTjg rig ^i\ 

Pac. 571. 

'^XX' avaiivrjad'ivreg, dvdgeg^ 
T'ijg diairrig trig TtaXaidg, 
^Hv TtciQel'i avTTj nod^ ruiTvy 
Tojv re naXaaicov sxeivcoVy 
Tojv rs avxojv, rwv re iivqzcov, 
Tijg rQvyog re rrjg yXvxeiag, 
Trig ^f^^^dg re r^g nQog 
To) qjQearc, rMv r iXaicSv, 
'i2v nod^oviiev dvzl rovrojv 
Trjvde vvvi 
Tr^v d^ehv nQoaeiTzare. 

The tragedians have not, indeed, independent trochaic 
systems, but sometimes they repeat systematically trochaic 
series as parts of strophes, as Soph. Oed. Col. 1220 — 1224 ; 
1235 — 1239, where the ithyphallic forms ihe close. 
21 



242 TROCHAIC SYSTEMS. 

atQ. Tov d^eXovrog ' 6 d' mUovqog 

^laoTtXearog 

"^'idog, ore Moi^ avviiivaiog 

'^AXvQog axoQog ava7ii(^rivE, 

Odvarog ig relevTav, 
avr. Kai q)d^6rog • to re xardiiEiATiTov 

'EmXtXoyxe 

IIv[xarov dxQaTsg dnQOGoiiilov 

riJQag aq)iXor, ha nqonavza 

Kay.d 'Aay^Mv ^vroiyieL 

Compare also Eur. Orest. 1001 — 1004, where the close: 



MovoTKaXov eg L^oa. 

The tetrapodia troch. cat. repeated systematically occurs 
frequently, as Aesch. Eum. 508 — 516; 517 — 525. 

azQ, M7]d8 tig rnxXijoyJico 
!E!vii,cpoQa 7:eTVfA(A8vogf 

TOVT 87tOg d^QOOVjlEVOg • 

il dixa, 

ft d^Qovoi % 'Eqivvvcov, 
Tavtd rig rdj^ dv narijQ 
'H rexovaa vaortad^rjg 
Oinrov olxriaaiTy mu- 
drj mrvei dofxog dixag, 
dvr. '^Ead^ otiov to dtivov ev 
Kal qjQevojv iTZiaxoTTOv 
/Jat^avei y.ad^rnievov. 

AVjJiQptQei 

2^(Oq)Q0V8lV VTtO aT8V8l, 

Tig ds [j.7jdh iv q)d8i 
Kaqdiag dv dvarQacpcov 
'H nohg ^Qorog i>' oiioi- 
cog ii dv 68^01 dUav ; 



IAMBIC SYSTEMS. 243 



B. Iambic Systems. 

They were likewise used by lyric (Anacreon, Alcman) and 
comic poets. They, too, are arranged by dimeters, so, how- 
ever, that frequently a monometer intervenes, usually before 
the closing series. The system usually ends with a tetrapo- 
dia iamb, catal. 



the last arsis of which is not resolved. Anapaests are every- 
where allowed. Resolutions are frequent. Iambic verses 
usually precede or follow the systems. 
As an example take Arist. Ran. 384 sqq. 

Kai ado^s rov aavTtjg xoqov • 
Kai [/ dacpaXojg Ttavrnxeqov 
TIatoat ze xal )[0Q8voaL 
avT. Kai TZoXXa ftev jsloid ii el- 
Tzatv, TtoXkd dt aTTovdaia, xai 
Tijg afjg ioQifjg d^icog 
UalaavTa koi (jxc6xfjavTa vi- 
ar^aavTa Taiviomd^ai. 
A peculiar close : 

occurs in the systems Acharn. 835 — 841^ 844—847, 850 — 
853, 856—859. 

'Ev rdyoQa yiad^rnievog, 
Kdv slgtri rig Krriaiag, 
'H avKocpdvTTig dXlog, oi- 
[Aco^cov xad^edeire. 

The tragedians, without having independent systems, some- 
times repeat systematically iambic rhythms, as Eur. Orest. 
995 sqq., where the following rhythm forms the close: 



'AtQtog mno^ora. 



244 DACTYLIC SYSTEMS. 

Some have endeavored to find iambic systems m the Ro- 
man comic poets, also, as Plaut. Stich. I. 1. 11. 

Spero quidern et void, sed hoc, 
Soror, crucior, patrem tuum 
Meijmque adeo, unus qui unice 
Civibus ex omnibus probus 
Perhibetur, eum nunc improbi 
Viri officio uti, qui viris 
Tantas absentibus facit 
Injurias immerito. 

Such systems, however, may commonly be measured as 
iambic octonarii, to which a septenarius or an iambic close 
is subjoined. 

11. Systems of tpie equal kind. 

A. Dactylic Systems. 

The dactylic systems were used by lyric (Alcman, Iby- 
cus, Stesichorus, Bacchylides), tragic and comic poets. 
They consist chiefly of acatalectic tetrameters mixed with 
longer or shorter dactylic rhythms, and often with others also, 
as logaoedic series, anapaests and dochmii. The latter cannot 
properly be considered as belonging to the systems. In an- 
tistrophic poems dactyls usually correspond to dactyls, spon- 
dees to spondees ; proper names, however, make an excep- 
tion. The termination is either the catalexis or a particu- 
lar close. 

(a) Sijsteins of the lyric poets. 

Alcman : 

Md)o\ ays, KaXhoTia, S^vyarsQ Jiog, 

^QX ^QOCtOOV iTTSCOV, 87Ti 3' l[XSQOV 



Ibycus : 



EvqvuXe, yXavx803v XaQitcov -O'aXog, 

KaXXixoiJcov [xel8d?]fyta, os (Jtv KvTZQtg, 
'Ax dyavo^lecpaQog Uetd^oo QodtocaiV iv 



DACTYLIC SYSTEMS. 245 

(b) Systems of the dramatists . 

Soph. Elec. 129—136; 145—152. 
(jtQ. il yevi&la yevvaicov, 

Oida re xai ^vvit^fjii tad\ ov ti fis 
0vyydv8t, ovd' i&^'Xoo nQoXmeiv roSs, 
Mrj ov Tov ii^ov arovay^eiv natiq d&XiOV 
u^}X CO Tiavtoiag (piX6Tr]Tog diiei^ofievai x^Q^^ 
'Edre [/ co5' dXveiv, 
Aiai, rAfov[Aai. 
dvT. Nrjmog og tciv oiKTQoog 

Oixo^evcov yovso3v imldd^etai, 
AlX ifjis y d axovosaa aQagev qjQsvag, 
""A '^IrvVy aih '7rvv oXocpvQeraiy 
'^Oqvig dtv^oiAEvay /diog dyyeXog, 
'/co TtavxXd.iicov Nio^a^ 68 8' sycoys V8[x(0 d^eov, 
'At iv rdq)(p TistQaicp 
Alai daxQveig. 

Aristoph. Nub. 275—290 ; 299—313. 

aTQ. Asvaot A^8cpiXaiy 

Aq^difjiEv cpaveqal SQOGSQav q)v6iv evdyr^tov, 
IlaTQog dn 'fixeavov ^aqva'/^eog 
'TWr]l^v 6q8cov xoQvcpdg im 
/l8vdQOx6[jLOvg, iva 
T7]X8q)av8ig axomdg dq)OQ(6[ji8d^a, 
KaQTTovg r dQdo[A8vav hqdv 'i&ova, 
Kai TioraiKav ^a&803v xsXaSi^fAaray 
Kal novrov asXddovra ^aQv^QOfiov • 
^Ofji[A.a ydq atd^sQog dy^dfiazov asXayshai 

MaQiiaqiaig iv avyatg, 
AXX' d7toa8iadii8vai vicpog oii^qwv 
Ad^avdrag idsag iTiidcofxsd^a 
Tr^XsamTTCp ofiixari yaiav, 
21* 



246 ANAPAESTIC SYSTEMS. 

dvT, riaQd^evoi oiA^qocpoQOi, 

'^EXd^cofxev XiTiaQav ^^ora IlaXXddog, svavdQOv ydv 

KsxQOTiog oipoixsvat TtoXvrJQarov * 

Ou ae^ag dQQfjrojv leQOJv, I'va 

Mv<yzo86xog 86fj.og 

Ev reXetaig dyiaig dvadstxvvtaiy 

OvQavioig re d^eoig dcDQi^fiara, 

Naoi '&' vi!jeQsq)£ig xai dydXfxaTa 

Kai nqogodoi fiaxdQCov lEQcoTatat, 

EvGticpavoL TS S^eojv d^vaiai d^aXiai re 

HavtodaTtalg iv coQaig, 
Hqi X £7teQ)[0[A.8V(p BQajjiia X^Q^^^ 
EvxeXddcov ts ^oqojv iQed^iOfAara, 

Kai Movaa ^aQv^qofxog avX(5v, 

The Roman tragedians, also, seem to have used dactylic 
systems, as Attius; 

Heu vigiles, properate, expergite, 
Pectora tarda sopore, exsurgite. 

B. Anapaestic Systems. 

The anapaestic systems are very frequent with the drama- 
tists. They either precede, interrupt, or follow the chorus- 
es. In many dramas, as Aeschylus's Agamemnon, Persians, 
Suppliants; in Sophocles's Ajax, in Rhesus, in Euripides's 
Hippolytus, and others, the anapaestic systems form the proode 
and mark the entrance of the chorus, for which the anapaes- 
tic rhythm, which was used also as a marching-rhythm, was 
particularly adapted. For the same reason many tragedians 
close with anapaestic systems, which form the exode and 
mark the departure of the chorus. 

The anapaestic systems are treated with more or less 
freedom. 

The strict systems consist of dimeters, which are some- 
times interrupted by a monometer (basis anapaestica.) The 
dimeter catalect. in syllab., the paroemiac, frequently preced- 
ed by the monometer, forms the close. 

The series are closely connected, whence the hiatus and 
anceps are allowed only at the close of the system. Both, 
however, occur in the system itself under certain conditions : 



ANAPAESTIC SYSTEMS. 247 

(i) In an exclamation or address, as Aesch. Agam. 1537, 
'/oa ya^ ya, eid"' 8^' ids^co. 
Soph. Oed. Col. 188. 

^ye vvv 6v ^s, Tzat, 

Iv av evae^iag Im^aivovtEg, 

(2) At a change of persons, as Soph. Oed. Col. 139; 170. 

Old. "08' I'AHvog iyoj ' cpcov^ yaq 6q(5, 
To op ar 1^1,6 fAEvov. 

XOQ. 'Icio LOO. 

Old. QvyatEQ, not rig (fQOvtldog eX&ri • 
yivT, 'i2 TtdzeQf darolg iaa ^grj iieXerdv, 

(3) Where in a principal system a part terminates, as 
Aesch. Pers. 18. 

TlQohnovteg 8^av, 

Oi iilv Bcp inncxiv, ol d' ini vccojv. 
Agam. 794. 

Ayslaara TiQocjcoTra ^la^ofxevoi. 
"OaTig d' dyad-og noo^aroyvwiJicov, 
Eur. Hec. 83. 

'^Earai ri rsov, 
'H^ei ti i-iiXog -/,. r. X, 

the words saiat n v8ov are prefixed as a kind of introduction 
to the following system, and do not, therefore, belong to it. 
The break of a word occurs very rarely at the end of the 
dimeter, as Arist. Vesp. 752. 

''Iv 6 X7]QV^ cfjjal, rig dip/jcpi- 
6Tog ; dviarda&cx). 

The principal diaeresis of the dimeter is after the second 
foot, as Aesch. Prom. 167. 

'H iitjv 8T i^ov, xaiTteQ XQar^QaTg 
'Ev yviOTZsdatg alxi^oixevov. 
The elision does not destroy it, as Soph. Aj. 1411. 

Tdad' iTTixovcpi^', hi ydq d^tQiiai 
The series has sometimes the caesura after the first short 
of the third foot : 



248 ANAPAESTIC SYSTEMS. 



as Soph. Aj. 146. 

'Htzeq doQiXrjTiTog h '^v XoiTirj, 

The rhythm is thereby rendered similar to that of the cyclic 
anapaests. The neglect of the diaeresis and caesura occurs 
in tragedians in a compound word alone, in the juncture of 
which the second anapaest ends, as Aesch. Prom. 172. 

Kai fA ovxi [AeXiyXcoaaoig Tteid^ovg • 
in comic writers even in other places, as Arist. Av. 523. 
Nvv d' drdQccTiod', yXid^iovgy Mavag, 

The paroemiac has no fixed caesura or diaeresis. 

If the last syllable of an anapaest is a monosyllable, then 
in Aeschylus and Sophocles the first also usually forms a 
word, as Aesch. Eum. 932. 

'0 8s [A>r^ KVQoag ^aQBOJv tovtcov ' 
or both shorts are contained in one word, as Aesch. Prom. 
123. 

/lia zriv Xiav q)iX6rf]ta ^qot^v • 
the first or still more the first two syllables are, however, 
very rarely the final syllables of the preceding word, as Aesch. 
Pers. 47. Choeph. 1009. 

/liOQViid rs >tai tQiQQVfia rsXt], 
MifAvovn ds yiol ndd'og dvd'st. 

The spondee can everywhere stand for the anapaest. Spon- 
dees are especially crowded together, when the subject re- 
quires a grave, gloomy rhythm, as Aesch. Prometh. 1076 sqq. 

Mrj drjr, avzat d' vjjdg avrdg, 
EidvTai yccQ xovx i^alqjvrjg 
Ovde Xad^qaicog k. r. X. 

When the paroemiac receives the spondee in the place of 
the third anapaest, the close resembles that of the spondaic 
hexameter, and produces a similar effect, as Aesch. Agam. 
366. Suppl. 8. Pers. 32. 

BtXog ijXid^iov axi^ipeiev, 
Wri^pcxj 7i6Xs(x)g yvcoad^sTaai. 
'Ititicov X iXatrjQ 2^coad^dvj]g, 



ANAPAESTIC SYSTEMS. 249 

Paroemiacs consisting of pure spondees occur in the freer 
anapaestic systems alone. 

The proceleusmatic instead of the anapaest is not found 
in the tragedians, but in comic poets, especially in the first 
place of the dimeter, as Arist. Nub. 916. 

/Iia 68 ds qjoirav. 

The dactyls can stand for the anapaest. Sometimes entire 
dimeters occur consisting of dactyls alone, as Aesch. Agam. 
1553. 

Ka7T7tE6B, xdzd^ave, xal xa7ad^dxpo[XEv, 
Eur. Hippol. 1361. 

IjQOGCpOQd [X aiQEta, avvTova d' el'ASts. 
Tor y.axodaifiova xai yiaraQarov. 

The dimeter with tragedians, especially Sophocles, rarely 
closes with a dactyl, if no dactyl precedes it, as Aesch. Suppl. 
6. 

Xd^ova 6vyyoQTOv 2vQici q)8vyo[A,Ev. 

An anapaest never follows a dactyl in the same dipody ; in 
comic poets, however, this occurs sometimes, as Arist. Pac. 
169. 

Kal fivQov Inr/^eig ; mq ijv ri Tzeacov, 

The immediate succession of the two feet in different 
dipodies is rare in tragedians, as Eur. Elec. 1319. 

Mr]TQog vq)8^(x). d^aQaet ' UalXddog 
'Oaiav TJ'^sig nokiv ' all' dvsyov. 

The paroemiac admits the dactyl in the first foot only, 
and even then seldom, as Aesch. Choeph. 379. 

Ilaial ds (jidXXov yeyevTjrai, 

With the paroemiac a sentence usually closes; hence an 
interpunction falls after it; sometimes, however, the sentence 
runs over into the following system, as Aesch. Suppl. 5. 

NelXov, diav ds Xmovacu 

X'&ova (5vyyoqtov ^VQia cpsvyoiJisv. 

It is not necessary that in antistrophic systems feet should 
correspond to feet, but series to series. 

As an example of an anapaestic system take Aesch. Prom. 
1080 sqq. 



259 ANAPAESTIC SYSTEMS. 

Kai fATjv tQycp xovx en fzvd'cp 
Xd'cov (jFcjdXevrat' 
Bqv)(^iol d yx^ TtaQafxv'Aatat 
BQOvrrjgy ehxeg d' exldfiTiovai 
2JzEQ07T7Jg l^dnvQOi, 

2Jtq6[jPoi ds Konv dliaaovai ' 
2JxiQ7a d' dvifiojv nveviiara TidvTOJV 
Eig dXXrjXa 

2^td(5iv dvriTivovv dTrodsrAvvfjieva' 
S!vvTETdQaxrai 5' aid^riQ Tzovro), 
Toidd' in liioi qittti dio&ev 
Tev'^ovaa q)6^ov areiiu q)aveQ6jg. 
S2 (jr]tQog ifA,^g as^ag, oi ndvicov 
yild^riQ xotvov cpdog elXiaacoVf 
'EooQag [/ cog SKdixa Tzdaxco. 

The freer systems differ from those just described in this 
that the paroemiac occurs not only at the end but also in the 
beginning and middle, and is several times repeated. The 
diaeresis of the dimeter is frequently neglected. The proce- 
leusmatic occurs frequently ; in like manner spondees are 
accumulated, especially in the paroemiac, which frequently 
consists of nothing but spondees. In the paroemiac, not only 
the second but often, at the same time, the first and second 
foot may be a dactyl, as Eur. Hec. 99. 

IlEfixpatSy dat(xoveg, Ixarsvco. 

The anapaest may follow the dactyl in the same dipody, 
as Eur. Troad. 194. 

Tdv Tiaqd TtQod^VQOig (fvXa'Aav y.ariyov(s\ 

The close connection of the series is less strictly observed ; 
hence the hiatus and anceps occur frequently. Other rhythms 
often interrupt or close the system. In Euripides the tripo- 
dia anap. cat., occurs often, frequently in spondees, as Eur. 
Ion. 908, 909. 

''Og y oiicpdv xX^Qotg 
TlQog XQvanovg {^dxovg. 

As an example take Eur. Ion. 859 — 922. 



ANAPAESTIC SYSTEMS. 251 

Ilojg ds aKoriag dvaq)^vG) 

EvvaQy aidovg d' d7toX8iq)d'Oj ; 
862 — 880 are strictly anapaestic systems: 
Si rag mxac^d^oyyov fi^XTiojv 
Kid^dqag ivoTidv, at dyQavXoig 
KsQaaiv sv dxpvxoig dy^el 
Movadv vfAvovg 6va)r]^tovg, 
^ol fiofj-cpdv, CO Aazovg Tial, 
TlQog rdvd' avydv avddaco, 

Hld^ig fjLoi /^fcTw Y^airav 
MaQiiaiQcov, evT elg xolTTovg 
KQoxea TTsraXa cpaQSGiv sdQaTTOv^ 
Avd^it^eiv XQvaavravy?]. 

Aev'AoTg d' sfAcpyg y.aQTToiaiv 
XeiQMv eig dvTQov y.oirag 
Kgavyav c6 [xdiso ^x avdcoaav. 

Oeog 6fi8vv8zag ayeg dvaideia (2 dochm,) 

KvTTQidi x^Q^"^ TTQuaacov (tripod, anap. cat.) 

TixTco d' a dvaravog 60i 

KovQov, Tov (pQr/^cc iiciTQog 

Eig evvav ^dlXco rdv odv, 

Iva (J8 7Jy8<3i iJi8X8a fji8).8og 

'E^8vico rdv dvcjTavov. 

"" Either a tripodia anapaest, acat. in which the anapaest has the 
form of the proceleusmatic : 



or a tetrapodia troch. acat. 
Compare V. 900. 



252 ANAPAESTIC SYSTEMS. 

O'lflOl llOi* Xal VVV SQQSi 

TIravoig aQTzaad^elg '&oiva 
IlaTg fioi xai aog 
TXdfxcov, av ds Kid^aQa yilaX,eig 
Haiavag ixsXttcov. 

^i27j, Tov Aarovg avdoj, 
'Og y 6fj.(par >iX7]QoTg 
TlQog "/^Qva^ovg '&dxovg 
Kai yaiag jjLsaariQsig edgagy 
Elg ovg avddv xaQv^co, 

Kaxog EvvdtcoQ, 

^'Og Tw [xh i^(^ vvijcpevra 

Xdoiv ov TiQoXa^cov 

IlaTd^ elg oixovg oixi^eig. 

'0 d' ifiog ysvsrag 

Kai Gog y d^jLad-rig omvolg 

'^EqQU GvXax^eig otxeTa 

2J7tdQyava [xaTSQog i^aXXd^ag, 

Miaei a' a /IdXog xai ddopvag 

''Eqvea q)Oivixa TiaQ d^qoxoiiav, 

"Evd^a XojEi\iara aiiiv eXo'^^voazo 

Aazod AioiGL 68 xaQTtoig. 

The RomaQ dramatists, also, had anapaestic systems. 
The older tragedians followed pretty faithfully the Greek 
models, although they seem to have cared less for the con- 
nection of the series, whence the hiatus and anceps in the 
system. An anapaest could also follow a dactyl in the 
same dipody, as Attius Philoct. in Cic. Tusc. II. 7. 

Jam jam absumor, conficit aniraam. 
The diaeresis is not always observed. As an example take 
Enn. Nipt, in Cic. Tusc. II. 21. 

Retinete ! tenete, opprimit ulcus. 
Nadate ! heu luiserum me, excrucior l 
Operite ! abscedite jam jam ! 



CRETIC SYSTEMS. 253 

Mittite ! nam attrectatu et quassu 
Saevum amplificatis dolorem ! 

Seneca, who frequently has anapaestic systenns in his trage- 
dies, treats them as asynartete; whence the hiatus and anceps 
occur frequently at the end of the dimeter. He does not 
know the use of the paroemiac. The dimeters are frequently 
interrupted by a monometer. As example take Oed. V. 2. 

Fatis agimur, cedlte fatis. 
Non sollicitae possunt curae 
Mutare rati stamina fusi. 
Quidquid patimur mortale genus, 
Quidquid facimus, venit ex alto, 
Servatque suae decreta colus 
Lachesis dura revoluta manu. 
Omnia certo tramite vadunt, etc. 

Plautus, among the comic poets, has frequently anapaes- 
tic systems which he treats very freely. Several paroemiac^ 
often follow which he frequently forms with spondees. Aa 
example take Stich. II. 1. 37 sqq. 

Aperite atque approperate, fores 
Facite ut pateant ! removete moram ! 
Nimis haec res sine cura geritur. 
Vide, qaam dudum hie asto et pulto ! 
Somnon' operam datis ? experiar 
Fores, an cubiti, an pedes plus valeant. 
Nimis vellem hae fores herum fugissent! 
Ea causa, ut haberent malum magnum. 

Defessus sum pultando, 

Hoc est postremum vobis. 

G. ibo, atque hunc compellabo. 

Salvus sis ! D. £t tu salve. 



III. Systems of the Paeonian kindv 
A. Cretic Systems. 

The cretics are united into systems, the feet being usually 
joined two by two, although sometimes there is a monometer 
over. Such systems were frequently used by lyric (Bac- 
chylides) and dramatic poets. With the latter, especialy 
the comic poets, the cretic appears frequently as a first or 
22 



254 CRETIC SYSTEMS. 

fourth paeon, or altogether resolved into shorts. Cretic sys- 
tems have no fixed close. They occur usually in trochaic 
and iambic measures. It is not necessary in antistrophic 
poems that like feet should correspond. As examples take 
the following systems : 

Lyric poets. Bacchylides : 

Ovj^ tdQag EQyov ov^ 
^[A^oXdg, dXXa iqv- 
aaiyidog 'Irconag 
Xqtj^ naq evdaiSakov 

Naov iX' f / — 
d^ovtag d^Qov tt dei^at (-^ ^)- 

Dramatists. Aesch. Suppl. 418—422 ; 423—427. 

CTQ. fpQovricov 

Kat yevov Ttavdixcog 
Evas^Tjg TtQo^evog, 
Tdv q)vydda iiij Tigodwgy 
Tdv exad^ev ix^oXalg 
/dvad^soig oQiitvav. 

dvr. MtjS' i8i^g 

BT i^ idQav TtoXvd^icov 

TIdv xgdrog 8)^cx)v ^^ovog, 

Kat cpvXa^ai kotov. 

Arist. Equit. 303—313 ; 382—390. 

67Q. i2 jAiaQs xai ^dsXvQS 

Kat 'AaTaxexQaxtay rov 

2Jov d^Qdaovg 
ndaa lih yij nXia, 
ndaa d' ixxX7]6ia, 
Kal TsXrj xac yqacpav 
Kal SmaarriQiy oi 



DOCHMIAC SYSTEMS. 255 

BoQBo^otuQa^t xat 

Tijv nokiv anaaav ri- 

l^oov dvarsrvQ^axwg, 
'^Oartg tjik^v rag ^{^i^vag sHxexcoqiT^xag ^ocSv, 
KuTTo 7(Sv TzezQ^v avco&£v Tovg cpoQovg dvvvoay.OTtwv, 

dvr, Hv ccQa nvqog y etequ 

QeQlioteqa, y.al loytov 
^Ev TToXei 

Tcov dvaidcSv aval- 

dtOTSQOi xal to Ttqayii 

'Hv aQ ov cpavXov cod 

* * "* ^IX' emd^i xal atQo^ety 

Mrjdh oliyov Ttoiei. 

JYvv yaQ h/j^rai [xsaog ' 
^i2g idv vvvl ^aXd^rig avrov iv zy TiQoa^ol^, 
^tikov evQi^aeig * iyca yaQ rovg TQonovg BTttazafxai, 

B. Dochmiac Systems. 

The dochmiac systems are very frequent in the Greek 
dramatists. They are the form for the expression of the 
greatest excitement of the mind, disquiet, terror, anguish. 
Two dochmii are usually joined, and often there is one over. 
The dochmii are all closely joined together, whence neither 
hiatus nor anceps is allowed in the middle of the systems. 
Both, however, occur under the following conditions: 

(1) In interjections: 2 6, too /oo, Idov i8ov and the like. 

(2) In addresses, as Eur. Here. fur. 876. 

2^ov dv&og, nokig^ o ACog ezyovog, 

(3) In repeating a word, as Soph. Ant. 1322, 1319. 

Jiyere f/ on tdyog^ dyexH ijl ix7Zodc6v. 
^Eyco yaQ a iy(a fxavov, co [xtXsog. 

(4) In the change of persons, as Eur. Hippol. 571. 

A. Tiva '&{)0£tg avddv ; riva ^oag loyov ; 

B. EveTie rig cpo^ei <)8 cpr^iJia, yvvai; 

In many of these cases, where the hiatus or anceps occurs, 



256 DOCK MI AC SYSTEMS. 

a system may also be closed ; and this must be done when in 
other cases a hiatus or anceps occurs, as Aesch. Choeph. 935 
—937; 946—948. 

CTQ, '^EfioXe iilv diyiUy UQiaf^idatg xqovo^ ^uQvdrAog noivd, 

'^EfxoXe d' eg dojAOv rov '^yafisfxvovog, 
art, "EixoXe d' a fxeXet xQVTiradiov iid^^ag^ 8oli6cpQ(ov Tioivd. 

'^Ed^iys drj iid'^fjc x^Qog iT7]TV[xog, 

Like forms do not always correspond in antistrophic sys- 
tems. 

As an example of purely dochmiac systems take Aesch. 
Suppl. 392— 396; 402—406. 

atQ. Mrj xi nor ovv yevoi(xav VTtoi^iQiog 
KQciteaiv dqaivcov, vnaarQOv ds roi 
M^X^Q OQi'Coiiai yd^ov dvocpQovog 
0vya, ^vfjiixaxov d' 6X6[isvog dinar 

KqTvs ai^ag ro nqog d^eajv, (- ^ ^ - ^ - -* -) 

dvT. ^udiKfOTtQovg ofiaificov rdd' tmanomi 
Zsvg szeQOQQsntig, vs^mv slxorcog 
'!AdrAa iiiv naxoig, oaia d' ivvofioig. 
Ti Tcor^' i^ 160V QeTTOixevoov lietaX- 
yug to diaaiov bq^ui, 
Arist. Acharn. 358—365 ; 385—392. 
azQ, Ti ovv ov Xsyeig mtirivov f |- 
evey}i(X)v d^vqa^^ 
'^O ti TioTy w ax^The, to fisya rovt sxsig ; 
TIdvv ydq Bfieye nod^og o ti (pQovug i^et. 
^AXX xiTtEQ avrog triv 8ixr]v dicoQiaco, 
Qeig devQO rovm^rivov lyxBiQU Xiyeiv, 

dvr. Ti ravra atQtcpu Tsxvd^eig re nal 
IIoQi^etg TQf^dg ; 
Aa^l d' ifiov y evEaa naQ 'isQCovvfjiov 
2^}iorodaGV7Tvxv6rQixd riv '^A'idog nvvrjr ' 
Elr i^dvoiys ^tj^ardg rag ^lavcpov, 
*iig axrjxpiv dycov ovrog ova elads^etat. 



BACCHIC SYSTEMS. CHORIAMBIC. 257 

C. Bacchic Systems. 

Varro, (h^^^qi t^aycoyrjQy in Non. 336, seems to have re- 
peated bacchii by systems : 

Quaenam te esse dicam, fera qui manu cor- 
poris fervidos fortium dperis lacus san- 
guinis, teque vita levas ferreo ense ? 

and perhaps also PJautus. 

IV. Systems or the Choriambic-ionic kind. 
A. Choriambic Systems. 

Choriambs in systems are repeated two by two : some- 
times, however, there is a monometer over. These systems 
occur in lyric and dramatic poets, often among other rhythms. 
Frequently the iambic dipody corresponds to the choriamb. 
Choriambic series with a logaoedic termination are used as 
a close. Resolutions occur sometimes in the choriamb, as 
in the iambic dipody. 

Examples : Find. Fragm. Dithyr. III. 10. 



Tov BQOfXLOv rov 'EQ(p6av t8 xaXsofxev. yovov VTidrcoy 

Aesch. Sept. c. Theb. 918—921 ; 930—933. 
CTQ. /JaiocpQcov, ov cpdoya- 

^Ex q)Q8vog, a TiXaioiiivag 

Mov iiivvd^u 
Totvde dvoTv dvcixTotv, 

dvt, IJalda TOP avzdg noaiv av- 

"^Sid sTeXevzaaav vtt dX- 
},aXoq)6voig 

XeQGlV OflOaTTOQOKJlV. 

22* 



2S8 GLYCONIC SYSTEMS. 

Arist. Acharn. 1150—1155; 1161—1167. 

Tov ^vyyQaq)rj, 
Tor fisXecov noiritriv, 
'iig fisv dnX^ Xoycp aaxojg 
'E^oXsaeiev 6 Zevg • 
Og y ifis tov tXruiova Ai]' 

ycav aTzexkeia dSunvov. 
dvt, Tovto [isv avz(p ^amv tv ' 

Nv'AttQivov ytvoiro, 
^H7tiaX(5v ydq oinad' €§ 
'Innaaiag ^adi^cov, 
Elta ycatd^eit rig av- 

tov (xed^vMv 
Trjg aecfalTJg ^Oqiarrig, 

Pindar repeats in Isthm. VII. 5, the choriamb with the 
basis in the manner of a system : 

/X/ X/ X/ X/ X/ X/ 



^AidXcov on HQcirog i^svQS, rc^ yiac iy(a, xaiTZEQ 
[t^^vvfievog S^viiov^ altsoixai ^gvatav xaXeaai 
Motaav, in fieydXojv ds Tievd^ecov Xvd^tvreg. 

B. Glyconic Systems. 

The Glyconic systems were frequently used by the lyric 
and dramatic poets. We distinguish the Glyconic systems 
as pure and polyschematist. 

(a) Pure Glyconic Systems. 
In these the Glyconic always appears in the original form 

X-/ 



GLYCONIC SYSTEMS. 259 

and the polyschematist is never used as the corresponding 
form. The closing iamb is always preserved pure. The 
Pherecratean forms the close of the systems : 

X- / - 



The basis is but seldom trisyllabic, never a pyrrhic. 

Such sytems were employed by the Ionian lyric poets, as 
Anacreon : 

rovvovficu a iXaq)r]^6Xe, 
Sav&rj Ttai /liog, ayqixov 
JtaTzoiv '^Aqreni d^riq^v, 

Ixov vvv Em Ari&aLOV 
/Hvxiai* S^QEO'AaQdiwv 
AvdQcav iyxad^oQa nokiv 
XaiQova ' ov yaQ dvi]fi8Q0vg 
Iloifiaivetg Tiohi^Tag. 

a TiaX Ttaqd^iviov ^Xbtzcov 
ydi^rjfiat as, av d' ov xXveig 
OvK eldcog, on rrjg iiiijg 
Wvx^g ^noxsveig. 

Commonly three or four Glyconics, with a Pherecratean 
as a close, form a strophe. So in Catullus Carm. XXXIV. 

Dianae samus in fide 
Puellae et pueri integri : 
Dianam, pueri integri 
Puellaeque, canamus. 

and Carm. XLI. 

Collis o Heliconei 
Cultor, Uraniae genus, 
Qui rapis teneram ad virum 
Virginem, o Hymenaee Hymen, 
Hymen o Hymenaee. 

In Carm. XXXIV, besides the trochee and spondee, he 
uses the iamb also for a basis ; in Carm. LXI, the trochee is 
for the most part the basis, more rarely the spondee, the 
iamb never. 



260 GLYCONIC SYSTEMS, 

In V. 25, the two shorts in the Pherecratean are contracted : 

Nutriunt humore. 
Versus hypermetri sometimes occur as Garm. XXXIV. 

11; 22. 

Saltuumque reconditorum, 

Amniumque sonantum. 

Sancta nomine, Romulique 
Ancique, ut solita es, bona. 

Carm. LXI. 115, 135, 140, 184. 

Flammeum video venire, 
lie, concinite in modum. 

Unguentate glabris marite 
Abstinere, sed abstine. 

Sola cognita ; sed niarito 
Ista non eadem licent. 

Jam licet venias, marite. 
Uxor in thalamo est tibi. 

V. 81 and 82 must be read : 

Flere desine, non tibi, Au- 
runculeja, periculum est. 

Once in Carm. LXI. the last syllable of the Glyconic is 
anceps, V. 46. 

Quis deus magis ah magis 
Est petendus amantibus ? 

And once the hiatus occurs, V. 186. 

Uxor in thalamo est tibi 
Ore floridulo nitens. 

The Dorian lyric poets have indeed no independent Gly- 
conic systems, but sometimes Glyconics and Pherecrateans, 
combined systematically, form parts of strophes, as Pind. 
Nem. II. 4. 

X^ / X / X~ / - 



Kara^oXav Uq^v dyojvcov vmacpoQiag dsdenTUi tiqco- 
rav Nejieaiov, 



GLYCONIC SYSTEMS. 261 

The dramatists likewise have Glyconic systems, as Soph. 
Philoct. 169—172 ; 180—183. 

6tQ. OiHteiQco viv 'iy(oy\ OTrcog, 
Mri rov xridofjsvov ^qotmv 
Mr^ds avvTQOcpov of^fi 's)^cov, 
/Ivaravog iiovog ad. 
dvr, OvTog nqcotoyovcxiv iacag 
OIkcov ovdevog vateQog, 
ndvrcov ccfifioQog iv ^icp 
K^itai fiovvog an dlXcov. 

Arist. Equit. 973—984 ; 985—996. 

GTQ, 'Hdiazov q^dog ruiiQag 
''Eatai rolai naQovai nd- 
aiv 'Aal roig dcpr/^vovfiEvoigy 
Hv KXmv dnolriTai, 

Kaitoi TiQea^vrsQcov riv^v 
Oicov dQyaXscordtcov 
^Ev rc^ deiyfxari ro3v diacSv 
'^H'Aovo dvTtleyovToov, 

S^g Bi fATj ysvev^ ovrog sv 
Ty tioXbi iiByag, ova dv ^- 
arrjv a^evri dvo ;f(>?^(T</ta}, 

/ioidv^ Ovds tOQVVt], 

dvr. AlXa ^a\ tod^ tycoys d^av- 
fid^co r^g voyovaiag 
^vtov ' (^acl yaQ avrov ol 
Uaideg oc ^vveq)oirG)v 

Tijv /looQiatt fjtovtjv ivaQ* 
fiorrsad^ai d^afxd rrjv XvQur, 
Jt}.Xr^v d' ovTi id^sXaiv Xa^sTv • 
Kara rov Md^aQiarriv 



262 GLYCONIC SYSTEMS. 

"OQyiGd^ivz anayuv Ti^kev- 
81 V, cog aQiiovlav 6 naig 
OvTog ov dvvarai fiad^eiv 
'Hv [Jirj /icoQodox7]6rL 

Seneca in his tragedies combines Glyconics together in 
the asynartete way, and has often a molossus for a choriamb, 
as Oed. IV. Chor. 882. 

Fata si liceat mihl 
Fingere arbitrio meo, 
Temperem Zephyro levi 
Vela, ne pressae gravi 
Spirltu antennae tremant. 

The Pherecratean occurs indeed sometimes among Gly- 
conics, but does not form the closing rhythm. 

Also Pherecrateans sometimes are repeated by themselves 
systematically, as Anacr. Carm. XXX. (t^'). 

^t Movaat rov'^EQcora 
/Irjaaaat arecpdvoiat 
T(p KdXXsi 7taQ8dcoxav. 
Kai vvv ri Kvd^SQSia 
Zr^rst XvTQa cpigovaa 
Avaaad^ai rov '^EQcora. 

Kav Xvay ds rig avrov, 
Ovx e^eiai, [xevei 8s • 
/Jovlsveiv dedidaxtai. 

Aesch. Sept. c. Th. 295—300; 312—317. 
atQ, Tot 118V yaq nozi nvqyovg 
Uavdrjiiei TtavofJiXsi 
2JtSiXovaiv • ri ysvcofxai ; 
Tot d^ In dii^)i^okot(5iv 
^Jdrttovai noltraig 
XeQfxdd' OKQtoeaaav. 

dvt, IJQog tad, co noliovioi 
Q8o\y rotai iih e^co 



k 



GLYCONIC SYSTEMS. 263 

UvQycov dvdQoXsreiQav 
Kat rav qiVjottXov arav 
''Eii^aXovreg aqoiad-e 
Kvdog, Totg ds TTolitaig, 

A kind of Glyconic is often found repeated, which has an 
anacrusis instead of the basis : 



As a close ^-^ is given to it, as Arist. Equit. 1111 — 

1130; 1131—1150. 

atQ, a /irjiis, y.alriv y 'i'/^eig 
■^QXV^i or£ ndvreg av- 
S^QcoTtot dsdiaai a' coa- 
neq avSqa rvqavvov. 

AXX tvTiaQaycoyog eJ, 
0(O7T8v6ix£v6g re y^ai- 
QEig xd^aTzarcofxEvog, 
IlQog TOP 78 liyovx du 
Ktpjvag ' 6 vovg ds oov 
IlaQOdv dTTodfj^sT. 

dvT. Aovg ovx svi zotig y^ofiaig 
'Tiiojv, ore [/ ov cpQOVEiv 
NoiutsT ' iy(X) d' sxcov 
TavT 7]Xid^id(^co. 

Avrog re ydq rjdofjiai. 
BqvXXoov ro xad^ ruieQav, 
KXinrovrd re ^ovlof^ai 
Tqecpeiv eva TZQoardrrjv ' 
Tovrov d\ orav rj TzXecog, 
J^Qag ETidra^a, 

(b) Polysckcinatist Glyconic Systems. 

The polyschematist Glyconic systems have not only a 
greater variety of measure in the basis, but the closing iamb 
of the Glyconic also may be converted into a spondee: 



264 GLYCONIC SYSTEMS. 



X- / 



and the polyschematist form : 
x-x- / 



be exchanged with the original form. In antistrophic poems, 
the polyschematist sometimes corresponds to the original 
form, and the reverse. The Pherecratean does not always 
form the close, but frequently another rhythm. Frequently 
other rhythms, more or less like the Glyconie, longer or 
shorter, are intermingled. 

The Aeolian lyric poets appear to have employed such 
systems. Hephaestion cites some polyschematist forms, 
which were used by Corinna : 

KaXa ysQOia elaaiiiva 
TavayQideaat XevzoTzeTiloig • 
Msya d' iixtj ytya^e nohg 
^lyovQOxcotiXr^g ivoTzijg, 

In the dramatists, either the polyschematist form occurs 
alone, or intermingled with the original, as Pherecrates in 
Photius : 

Tolg 8s TQiroTg 
ToTg rvn xQivovat Xsyco 
Mrj 'ttloqxsiv, ixrj d' ddiKcog 
KqLVEIV, 7], V7] Tor fDiXiov, 

Mvd^ov eig vixdg sreQov 
(Dtlo>iQdr7]g Xsist, ttoXv rov- 
70V TiaxTjyoQtaroTSQOv. 
Arist. Vesp. 1450—1461 ; 1462—1473. 
67 Q. Zt]Xoj ys 77jg evrv^iag 

r 
Tov TtQSa^VV, OC fXe78a77J ( — ^ - ^ — ) 

BriQMV 7q67T(x)v 'Aai pi07^g' 
Etequ ds vvv dv7i(jia\)^cov 

^ H fisya 7i8iae7ai 7i (- - ^ - ^ - ^) 



> 



GLYCONIC SYSTEMS. 265' 

^Etzl to TQvq)dov xai i^aXaxov, 
Taya d' dv laoog ovx id^sXoi. 
To yaq aTzoazrjvai )[ale7Zov 
fJ-^vaeog, tjv eyoi rig dei. 
Kairoi TzoXXoi ravx eTza&ov 
^vvovreg yvco^aig stsqcov 

MerE^dXXovro tovg ZQOTrovg. (- ^ — ''-''-) 



art. IJoXXov d' STTatvov nao liioi 

Kai 70161V £V QfQOVOVaiV 

Tvycov dneiaiv dia rrjv 
0iXo7TaTQiav y,ai ao^piav 
'0 Tzaig 6 fl^iXoxX^'oDvog, 

Ovdevl yccQ ovicog dyavcp 
Svv8y8vofA,r]v, ovds rQonoig 
ETzei^iavr^v, odd' i^eyvd'ijv. 
Ti ydq ixah'og dvTiXeycov 
Ov 'AoetTTco'V ffp, ^oyXofjievog 
Tov cfvaavra (jefivoreQoig 
KaTaxoaiAjjaac TiQayiAaai; 

Eur. Phoen. 202—213 ; 2U—22d. 

6TQ. TvQiov oidfia XiTiova t^av (1)* 
'Ay.Qod^ivia Ao^ia (1) 
fpoivtaaag djio vdaov 

X - A 

fDoi^qp dovXa fAeXad^Qcov ( — ^ _ ^-^ _) 
"iv vno deiQaai viq)o^6Xoig (1) 
UaQvaaov yazevaGd-r], 

'loviov xard novxov iXd- (1) 
ra nXevaaca TTEQioovtcov (I) 

T7780 dxaQ7Tl(jTMV Tiedicov (2) 

^^r/.tXiag ZscpvQov nvoalg (1) 
* The numeral 1 denotes the original form, 2 the polyscheraatist. 

23 



266 GLYCONIC SYSTEMS* 

KdXkiarw 'AtXddrnia, 

dvr, UoXeog iKTtQO'AQid^ETa i^idg (1) 
KaXXiar^v^ara ^o^ia' (I) 

KXsivMv 'u^yrjvoQiddv 
'Ofioyevecg im Aaiov (1) 
Il8(A.(f)d^ETg^ ivd^dde TivQyovg. 

laa d^ dydl^aai )[Qvaot8v- (1) 
xtoig ^I^oipm XdtQig yevoiiav. (2) 
*^Eri ds KaaiaXiag iidcoQ (1) 
^Emjjiivei f^e xof^ag ifidg (1) 
/isvaai, TiaQd^iviov yltddvj (1) 
fDoi^eiaiaff XatQsiaig. 

iTicpd, i2 Id^Ttavaa mtQa nvQog (1) 

/lixoQvcpov 6 Hag vneq dxQcov (1) 

Bax)[8i(x)v, /liovvaov 
O'lva d^ , a xai9a[itQiov (2) 
2Jrd(^8ig rhv nolmaQnov 

Oivdv^ag ma a ^otqvv, (2) 
Zdd^8d z dvTQa dQaxovtogy ov- ( 1 } 

Q8tai T8 OXOTlial '&8COV ( 1 ) 

Nicpo^oXov X oQog h^ov, 81- (1) 
Xia6&)'P dd^avdtag {^8ov (1) 
XoQog y8vol}iav dq)o^og (2) 
IJaQa iJ.8G6^i^aXa yvaXa 001- (1) 
^ov /JiQxav TiQoXmovaa, 

Atist. Ran. 1320—1328. 

Oivdv'&ag ydvog df^n^Xov, (1) 
BoTQvog hXma navamovov, (2) 
n8Qi^aXX\ w r8y.vov. dXtvag. (1) 
'OQag tbv noba rovrov ; — o^oa. — (2) 



IONIC SYSTEMS, 267 

Tidal; rovrov OQag ; — o^oa. — (1) 
Toiavti [x^vTOi ov Ttoicov (2) 
ToX[xag rafxa fxAij xpsyeiv, (1) 
lApa TO 8(x)day.aiiri)iavov (1) 
KvQiivijg iieXoTiomv ; 

C Ionic Systems. 

lonici a minore are combined into systems. The ionic 
systems are divided into pure and polyschematist. 

(a) Pure Ionic Systems. 

They were used by the Aeolian lyric poets, and by the 
tragedians. Among the lyric poets, Alcaeus had such sys- 
tems. Hephaestion cites as an example : 

^Eix8 deiXai', i(xs naadv xaxoTdzcov Tieds^oiaav, 
and remarks that every ten feet should have formed a strophe ; 
hence such a system is called a Decapodia Alcaica. Of this 
kind is also Horat. Carm. III. 12. It consists of four such 
systems, which form as many strophes : 

Miserarum est neque amori dare ladum neque dulci 
Mala T'ino lave re aut exanimari metuentes 
Patruae verbera linguae. 

Tibi qualum Cythereae puer ales, tibi telas 
Operosaeque Minervae stadium aufert, Neobule, 
Liparaei nitor Hebri. 

Simul uRctos Tiberinis humeros lavit in undis, 
Eques ipso melior Bellerophonte, neque pugno 
Neque segni pede victus ; 

Catus idem per apertum fugientes agitato 
Grege cervos jaculari, et celer alto latitantem 
Fruticeto excipere aprum. 

The Greek tragedians had similar systems, as Aesch. Pers. 
65—70; 73—78. 

(JTQ. TlentQcvAEv [liv 6 TteQC^Ttrolig rjdr] ^aaiXeiog 

^TQarog eig dvrmoQov yetrova x^qolv ; hvodsafAcp 
^'^edia Tzood^iiov diiEiipag. 



268 IONIC SYSTEMS. 

dvr. TIoXvdvbQov 8' 'Aoiag dovQiog aQ^cov Int ndaav 
Xdova noijiavoQiov d^elov iXavvai di)[6{)^T]v, tzb- 
^ov6[xoig 8K re S^aXdaoTjg, 

Euripides sometimes resolves the arsis and contracts the 
thesis, as Eur. Bacch. 78—82; 95—99. 

OTQ. Td re [AarQog fieydXag oQyia Kv^eXag deiitrevcav, 

'Avd &VQaov re nvdaocov xcaaw re Greq^avcod^eig 

/liovvaov S^eQajievei, 
dvr. Aoy^ioig d' avrtxa viv de^aro d^aXdiioig Kgovidag Zevg' 

Kara ft7]QW ds xaXvipag /^i;(7£(ict(T/,^ avveqeldei 

UeQovaig xQVTZrov dcp Hqag. 

(b) Polys chematist Ionic Systems. 

In these systems pure forms ahernate with polyschematist 
and broken ones. Commonly two ionics belong together. 
In antistrophic poems, sometimes different forms correspond 
to each other. Such systems often begin or end with other 
rhythms. Many Anacreontic poems may be regarded as such 
systems. The dramatists also used these systems, as Aesch. 
Prometh. 397—405 ; 406—414. 

crzQ. 2rev(x) ae rag ovXofA.8vag rvy^ag^ JjQOfirjd^ev, 

^axQvataraxrov d^ dii oaacov 

'Padivdjv Xei' 

^o^ieva Qtog naQeidv 

Norioig erey^a nayaXg 

Aixeyaqra yaQ rdde Zevg 

^Idioig vofioig xQarvvo3V 

^TiteQricpavov d^eoTciv 

Tola I TzdQog deUvvaiv al'^ixdv. 
dvt. Uqdnaaa d ' ^df] arovoev XeXaxe ^(iQa, 

MeyaXoax^lAovd r dqiai- 

OTiQenri — . 

^ ^ - Grevovai rav car 

^vvo[xaifA,6vo3v re rifAav, 

'Ottoooi r tTzocxov dyvdg 

'Aaiag edog vs[Aovzai ; 



IONIC SYSTEMS. 269 

MsyaXoatovotat aoiai 

Ilriiiaci 6vy'Aaiivov6i d^vi^toi. 
Eur. Cyclop. 495—502; 503—510; 511—518. 
(JTQ. d MaxdcQiog og evid^€i 

BoTQVcop (piXaioi Tzr^yalg 
'Etti xwfjtov ixTTSzaad^eig, 
0iXov dvdQ V7TayKaXit,(ov^ 
^Em dFfivioig re 'S.avd^ov 
Xhdavrjg e/^cov szaiQag 
MvQoxQKytog XmaQov ^6- 
<)TQV)^ov, avda ds, d^vQav rig oi'^ei juoi ; 

CTQ. ^' UaTiaTtd, nXicog fj}v oivov^ 
Favv^ai ds daizog rj^f]g, 
2J7idcpog oh^dg cSg ye^iad^eig 
TIoTt ailiia yaarqog dy.qag. 
^Tndysi ft 6 ^oQzog evq)Qcov 
^Em }((SfAov r^Qog coQaig, 
^Em KvyilcoTtag ddflq)ovg. 
08QE fioi, ^eive, cpiq daxov svdog fxoi, 

crrp. / Kakov oiiiiaaiv dsdoQ-^oog 
Kakov ixneQa (xeldd^oov. 
^ ^ - qjilei Tig ruidg. 
Av'fva d ' dfi{X8P8i dd'i'a <yov 
Xqou, y^cog reQStva vvficpa 
■ /iQoasQoov Ecojd^ev avrqcov, 

2^T8q)dvcov d' ov fila XQ^^^^ 
neQi cov xQuza rdy i^ofxili^aEt. 

I Arist. Vesp. 291—298 ; 305—311. 
K ozQ. 'Ed^El^OEig zi fiot ovvy ca 

mt ndzEQ, ^V GOV Tl dE7]d^S ; — 

Bjh ndvv y, CO Ttaidior. dlX' ei- 

^B ^^ ^^' §ovl£i fie TtQiao^at, 

Ka7,ov ; olfiai 8e g sqeiv d- 

azqaydXovg di^Ttovd-Ev, co ncu, — 
23* 



270 STROPHIC COMPOSITION. 

Ma /li\ akX laxd^Sag, oo TtaTt- 

Ttia' Tjdiov yccQ. — ovk av 

Ma /li\ ei KQe^Aatad^s y viieig, 

dvr, "Aye vvv, oj ndrsQ, ijv i^rj 
To dixaoTTiQiov aQ^oov 
Kad'ioxi vvVf Tiod^ev covt]- 
o6[A8\^' aQiarov ; exeig iX- 
TTida '^Qijarriv riva vc^v ij 
UoQOv 'ElXag Iqov blttsiv ; — 
ATiaTTaT, q)ev, ananal^ q)8v, 
Ma /ir OVK sycoys v^v oi8^ 
'OTTod^ev ya delTzvov tarat. 



CHAPTER IV. 

STROPHIC COMPOSITION. 

By strophes we understand a combination of verses, which 
are repeated in the same order (P. 1. c. 9. p. 35). The 
smallest strophe is the distich. Also systems may at the same 
time be regarded as strophes. But we treat here of the 
strophes properly so called, as they were used by the Ionian 
and Aeolian poets and among the Romans, especially by 
Catullus and Horace. They differ from the verses used by 
the line in that they consist of more than two, commonly of 
four verses; and from system, in that they are not necessa- 
rily required to be composed of similar parts, and when this 
is the case their parts do not intimately cohere; hence at the 
end of every principal part or verse, the hiatus and the an- 
ceps are unconditionally allowed. 

Every strophe forms a whole ; hence the rhythms of which 
it is composed must have a common character, and itself a 
satisfactory close. All strophes are not alike perfect. The 
Aeolian structure of the strophe attained the highest perfec- 
tion in the Alcaic strophe. 

The bucolic songs in some of the poems of Theocritus 
(Idyll. I. 64—145 ; II. 17—135) and those of Virgil, (Eel. 
VIII. 17—61, 64—109) ; in Catullus Carm. LXII and LXIV, 



TROCHAIC STROPHES. 271 

Pervigilium Veneris, and others maybe regarded as a kind of 
strophe, that is, several verses are separated from each other 
by a burden or refrain. The number of verses thus separa- 
ted is not always entirely the same, but an approximation only 
to equality between the strophes is looked to. 

Strophes are also divided according to the rhythm which 
predominates in them. 

I. Strophes of the double kind. 

A. Trochaic Strophes. 

/ - / - 
I. -------- three times. 



Anacreon : 

NrjXewg (pevyeig, doxmg ds 
M' ovdev eldsvai aocpov ; 

'^lad^i roi, xaXojg fj.8v av 60i 

'^uq)l TSQfxara dQOfAOv, 

Nvv ds Xeiftoj'pdg re ^oaxeai, 
Kovcpa re axiQTcSaa Tiai^sig' 
/le^iov yaQ iTiTioneiQriv 
Oix e^Big mefi^arriv, 

(2) -------- five times. 

Timocreon : 



/ — / 



'^flq)e)Jv o' CO rvcpXl UXovzs 
MijTe yrj fAi^z' iv d^aldaari 
MrjT iv r^TzeiQcp Cfavijvai, 



272 IAMBIC STROPHES. 

AlXa TaQtaqov re vaUiv 
Kax^Qovra' did 68 yocQ navt 
'^Eat iv dvO^QcoTioig 'Aaytd, 

B. Iambic Strophes. 

Here belong many Anacreontic poems, which are written 
in hemiambs. The end of the strophes indeed is not com- 
monly marked rhythmically by a peculiar close, but the stro- 
phic structure is easily perceived by the sense and the inter- 
punction. Thus Anacreon and his imitators formed stro- 
phes of 2, 3, 4, 5, 6, and more hemiambs. As an example 
take Anacr. Carm. XIIl. (ta), 

01 [X8V xalr^v Kv^i^^tjv 
Tor riiJiid^rjXvv Jdmv 
^Ev ovQeair ^oojvta 
Aiyovaiv iaiiavTJvaL 

01 ds Kldqov Tiaq o'ld'aig 
/lacpvricpoQOio 0oi^ov 
Aakov niovreg vdcoQ 
MefATjvoreg ^oojaip. 

'Eyco ds rov Avaiov 
Kal Tov liVQOv TiOQead^etg 
Kal Trjg ift^g izaiQfjg 
Oslco t9 t'^oa ixavtjvai. 

Carm. XXXVIII. (fie) has a peculiar close? 
s.__v._w_w five times. 



'Eyoo y^Qcov iitv etfj^t, 
Nsojv nliov ds ttivco • 
Kdv fjLSv dtri ^oQeveiVy 
JJsiXr^i^ov iv (jsaoiat 
Mi^^ovfievog xoQSvaco, 

I^ySjTiTQOV 'i^cov rov damv. 



IAMBIC STROPHES. 273 



'0 d' ovdsv lari vaqd^ij^ ' 
'0 fi8v delcov (xd)[86d^ai, 
IlaQsan yao, i^ayjad^co. 

MeXiXQOv olvov r^dvv 
'EyK8Qd(yag cpoQriaov. 

Carra. XXXV. (i^/3> 

v._w_w_^ three times. 



'0 ravQog ovtog, co TzaT, 

Zevg iioi doK8t ng ehat, 

fp£Q8t ydq dii(fi fcorotg 

2JtdovirfP yvvaiHa. 

Tl8Qa dl Ttovrov 8vqvv, 
Tmv8i ds xv[A.a x^laig ' 
Ova dv ds ravQog allog 
'E^ dyeXr^g iXa6d'8lg 

"E7iX8va8 Tfjv d^dXaaaaVy 
El [ATj [Aovog y i'A8ivog, 



Carm. XXVII. (^D- 



X / 



274 DACTYLIC STROPHES. 

Tov zliog 6 Ttaig 6 Bdn^iog 
'0 XvGicpQMv Avalogy 
Or £Lg QpQtvag tag ifA,ag 
Eiaslx^ri fisd^vdcozag, 
/liddaKOiiat 10QEVUV, 

^is/co 81 xai 71 rsQTivov, 
'0 rag (isd^ag tQaaidg, 

Meia xQorcfjv fisz^ wddg. 

Kal Tiakiv '&£Xco ^OQeveiv, 

IL Strophes of the equal kind. 

Dactylic Strophes. 



1. 



/ — / 



Strophe Sapphica, 

This strophe, often used by Sappho, Catullus, Horace and 
others consists of three series, to which a shorter one is added 
as a close. The three longer series consist of a logaoedic-dac- 
tylic rhythm (dactyl, logaoed. simplex dupliciter troch. acat.) 
to which a monomet. troch. is prefixed as an introduction. 
The close is an Adonius. The poets regard the single parts 
of this strophe sometimes as systematically connected series, 
sometimes as single verses. This is particularly true of the 
close, which was regarded as an epode of the third verse, 
and in the manner of asynartete verses, sometimes connected 
with the preceding verse, sometimes separated from it. 

The Sapphic verse seems not to have had, among the 
Greeks, a fixed diaeresis or caesura. In Sappho there is com- 
monly a diaeresis after the trochaic monometer, as, 



DACTYLIC STROPHES. 275 

^AXld Tvld[ eld'', at noY.a xdzeQcora, 
sometimes also the caesura after the long of the dactyl, as, 

'£2y,86g azQovd^of, tteqI ydg fjieXaivag. 
MaivoXa d^vf^M, riva d' avis TtEid^co, 
or after the first short of the same; 

Alxpa d ' ih'xovTO' tv d\ co i^dy^aiQa. 

In Horace the caesura is most usually after the long of the 
dactyl ; and next to this the caesura after the first short of the 
dactyl, most frequently occurs. 

Of Sappho, besides several fragments, two odes in this 
measure have been preserved : one by Dion. Halic. de comp. 
verb. c. 23, the other byLongin. Tzeol v\povg c. 10, the latter 
however is not entire. A portion of the latter was translated 
by Catullus, Carm. LI. The conclusion is sometimes joined 
to the preceding verse. 

Uvy.vd divevvTEg ttteq dri coQurdo aldt- 

Qog did fX86aco, 
laddvEi, WAU nXaaiov adv cpcovEv- 

oag vTzay.ovEi. 

She only allowed herself the hiatus, as it seems, between 
the first and second or between the second and third verses, 
between which, however, an elision also might take place. 

Catullus has this measure twice : Carm. XI. and LI. 
The trochaic monometer, in his poems, ends for the most 
part with the long, but sometimes also with the short, as XI. 
6. 15 ; LL 12. 

Seu Sacas sagittiferosque Parthos. 
Pauca n-ant ate meae puellae. 
Otium, Catulle, tibi molestum est. 

In XL ]2, the close is joined with the preceding verse, 

Gallicum Rhenuni, horribiles et ulti- 
mosque Britannos. 

Versus hypermetri are found XL 19; 22. 

Nullum aniaus vcre, sed identidern omnium 
Il;a rum- eas. 



276 DACTYLIC STROPHES. 

Qui illius culpa cecidit, velut prati 
Ultimi flos. 

Horace uses the Sapphic strophe in 25 odes (I. 2, 10, 12, 
20, 22, 25, 30, 32, 38. JL 2, 4, 6, 8, 10, 16. III. 8, 11, 
14, 18, 20, 22, 27. IV. 2, 6, 11) and in the Carmen secii- 
lare. 

He gave to his rhythm a greater vigor, suitable to the sub- 
ject of his odes, by ending the monoraeter troch. always vi^ith 
the long, and by letting the caesura after the long of the dac- 
tyls predominate ; but the caesura after the first short of the 
dactyls also occurs, especially in later poems. The elision 
does not remove the caesura as III. 27, 10. 

Imbrium divina avis imminentum. 

Once in the caesura, a short is used as long : II. 6, 14. 

Angulus ridet, iiln non Plymetto. 

A word of one syllable is used in the caesura only when 
another monosyllable precedes it: I. 2, 17. 

Iliae dura se nimium querenti. 

Sometimes Horace joins the close with the preceding verse, 
as I. 2, 19. 25, 11. II. 16, 7. III. 27, 59. 

Labitur ripa love non probante, u- 

xorius amnis. 
Thracio bacchante magis sub inter- 

lunia vento. 
Grosplie, non gemmis neque purpura ve- 

nale neque auro. 
Pendulam zona bene te secuta e- 

lidere coUum. 

He also separates it by the hiatus, of which no example is 
found in the remains of Sappho. 
I. 2, 47. 12, 7. 22, 15. 

Neve te noslris vitiis iniquum 

Ocior aura. 
Unde vocalem temere insecutae 

Orphea sylvae. 
Nee Jubae tellus generat, leonum 

Arida natrix. 

Versus hypermetri also occur, as IV. 2. 23. Carra. secuL 

47. 



DACTYLIC STROPHES. 277 

Aureos ediicit in astra nigroque 

Invidet Oreo. 
Romulae genti date remque prolemque 

Et decus omne. 

further, II. 2, 18. 16, 34. IV. 2, 22. 

Dissidens plebi nurnero beatoruin 

Eximit virtus. 

Mugiunt vaccae, tibi tollit hinnitum 

Apta quadiigis equa. 

Florat et vires anlmumque moresqae 

Aureos educit in astra. 

The first three verses also may close with a word,, which; 
is nearly connected with the following, for example, with a 
conjunction, a preposition, or pronoun, as 11. 6. 1, 2. 

Septimi, Gades aditure mecum et 
Cantabrum indoctum juga ferre nostra et 
Barbaras Syrtes. 



IV. 11, 18. 
IV. 6, 11 



Pene natali proprio. quod ex hac 
Luce Maecenas, 

Procidit lat^ posuitque collum in 
Pulvere Teucro. 



The hiatus between the first and second and between the 
second and third veri^es is rare. Examples are found, I. 2,, 
6. 12, 6. 25, 18. 80, 6. II. 4, 6. 16, 5. III. 11, 29, 50. 27,, 
10. 

Among the later poets Statins, Sylv. IV. 7, and Ausonius 
have Sapphic strophes. Seneca also uses the S ipphic mea- 
sures in his trai^edies and after a certain number ( f S.;pphic 
verses, permits the Adonian to follow, as in Medea III. Chor., 
the first seven strophes consist of tliree S ipphic verses and 
the Adonian and then seven strophes of eight Sapphic verses 
and the Adonian. Only the last strophe but one closes with 
the second half of the Sapphic verse and the Adonian, 



24 



278 DACTYLIC STROPHES. 

Fatrioque pendet 
Crimine poenas. 

In other passages a long series of Sapphic verses closes 
with the Adonian, as Thyest. III. Chor. ; in others, Adoni- 
ans are mingled here and there with Sapphic verses, as Oed* 
I. Chor. ; in others, lastly, Sapphic verses are found without 
Adonians, as Here. fur. III. Chor. The Sapphic verses 
have generally the caesura after the long of the dactyl. 

As examples of Sapphic strophes, the following poems 
may serve : 

Sappho : 

fl^aivsrai f^oi xrjvog iaog d^eoiaiv 
'^EfXfjisv covriQ, 06 ng ivavziog roi 
'loddveif xal nXaaiov ddv qxjovev- 
aag vTiaxovsc 

Km ysXaiaag Ijahqobv ' to \ioi d\i\i(tv 
KaQdlav sv ardd^eaiv iTtroa^ev • 
'£2g ydg elotdco, ^Qo^mg ^e cpmvdg 
Ovdev sr ixei, 

u4XXd xdiA. 118V ylcooaa saySy XeTtrov S^ 
AvrUa XQCJ 7TVQ VTTodtdQOf^axev, 
OTiTtareoGi d ovdsv OQrjfx , iTtiQQOii" 
^evGL d' dxovai. 
Catullus: Carm. LI. 

Ille mi par esse deo videtur, 
Ille, si fas est, superare divos, 
Qui sedens adversus identidem te 
Spectat et audit 

Dulce ridentem, misero quod omnis 
Eripit sensus mihi ; nam simul te, 
Lesbia, adspexi, nihil est super mi 
[Quod loquar amens.] 

Lingua sed torpet ; tenuis sub artus 
Flamma demanat^ sonitu suopte 
Tintinant aures, gernina teguntur 
Lumina nocte. 



DACTYLIC STROPHES. 279 



Horace: Carm. I. 30. 

O Venas, regina Cnidi Paphique, 
Sperne dilectam Cypron et vocantis 
Tare te multo Glycerae decoram 

Transfer in aedem. 
Fervidus tecum puer et solutis 
Gratiae zonis properentqae Nymphae 
Et parum comis sine te Juventas 

Mercuriusque. 

(2) -^ 



This strophe consists of dactylic logaoedic series. V. 1 
and 4 are dactyl, logaoed. simplex tripl. troch. cat., V. 2 
a dactyl, logaoed. simplex duplic. troch. acat. and V. 3 a 
dactyl, logaoed. duplex duplic. troch. cat. Anacreon uses 
this strophe. Carm. LXVI. (x). 

'HdvfieXrjg u^vay.QSOJV, 

'Hdv(xe).rjg ds ^a7iq)(i * 
TIivdaQimv ds rt ^loi ^itlog 

^vy-AEQaaag rig By^ioi. 

Ta tQia ravra (xot doxsi, 

Kcu /liovvGog ild^dov, 
Kou Ilacfii] liTza^o^Qoog, 

KavTog'EQcog av ixmetv. 



— / — / 



<3) 



— / — / 



280 DACTYLIC STROPHES. 

Strophe Alcaica, 

The Alcaic strophe is of all Aeolian strophes the most per- 
fect 01) account of the beautiful proportion of its parts. The 
whole strophe is composed of two elements : 

--^-- monometer troch. cum anacrusi. 

--^_v._ dactyl, logaoed. simplex dupl. troch. cat. 
Ill the first two verses both elements appear united ; in the 
third verse the trochaic theme is further developed : 

^-^-^-^-^ dimeter troch. cum anacr. 
in the fourth the dactylic logaoedic : 

_v.v._ww_w_v. dactyl, log. dupl. dupl. troch. acat. 

and with this longer logaoedic series the strophe receives its 
satisfactory close. 

Alcaeus, Sappho and other lyric poets seem to have often 
used this strophe. The first two verses have usually a diae- 
resis after the trochaic monometer, as, 

Ov Y^Qij xaxoTatv d^vfj,ov mixQineiv, 
''Tei pi8v 6 Zevg, ix d' oQavM [xsyag. 
It is, however, frequently neglected, as, 

XsifA,(av ' TtBTidyaaiv d' vddzcov qoaL 
Kd^^aXke rbv x^f[j,(Sv\ em fiev rtd^stg. 

The third and fourth verses were not so strictly separated 
as the first and second, because the third forms, as it were, 
the proode of the fourth; hence a word may undergo elision 
at the end of the third verse, as Sappho: 

Aidoog yj a ov xareTx^v OTiTzar, 
JiXX eXtysg tzeqi roa dixaicx). 

Among the Romans Horace uses this strophe in 37 odes 
(I. 9, 16, 17, 26, 27, 29, 31, 34, 35, 37. 11. 1, 3, 5, 7, 9, 11, 
]3, 14, 15, 17, 19, 20. III. 1, 2, 3, 4, 5, 6, 17, 21, 23, 26, 
29. IV. 4, 9, 14, 15). He strictly observes in the first two 
verses the diaeresis after the trochaic monometer. Elision 
does not destroy it, as I. 34, 10. 

Quo Styx et invisi horrida Taenari. 



DACTYLIC STROPHES, 381 

The diaeresis is several times neglected in compound words, 
t. 16, 21 ; 37, 5. II. 17, 21. 

Hostile aratrum exercitus insolens. 
Antehac nefas depromere Caecubum, 
Utrumque nostrum incredibili mode. 

This takes place twice in a simple word: 

I. 37, 14. IV. 14, 17. 

Mentemque lymphatam Mareotico. 
Spectandus in certamine Martio. 

The hiatus is once admitted in a word derived from the 
Greek : II. 20, 13. 

Jam Daedaleo ocior learo. 

It is preferred to have the interpunction fall in the diaere- 
sis. The verse is less perfect, when a monosyllabic word, 
which belongs closely to the following and which is preceded 
by an interpunction, stands before the diaeresis, as III, 29, 
57. IV. 4, 37. 

Non est meum, si mugiat Africis. 
Qaid debeas, o Roma, Neronibus. 

The third and fourth verses have no fixed diaeresis or cae- 
sura. 

Once a short in the arsis is lengthened in the fourth verse; 

II. 13, 16. 

Coeca timet aliunde fata. 

The anacrusis in the first three verses is usually long. 
The last thesis in the trochaic dipody of the first three 
verses, is always long. The only exception is III. 5, 17. 

Si non peri ret immiserabilis, 

unless we change, with Glareanus, periret mio perirent. 

Twice the fifth syllable of the first two verses is lengthen- 
ed by a synecphonesis: III. 4, 41 ; 6, 6. 

Vos lene consilium et datis et dato. 
Hinc omne principium, hue refer exitum. 

Although the hiatus is permitted between the single verses, 
it does not very frequently occur, especially between the 
third and fourth verses. 

Horace has twice, probably after a Greek model, united 
the third and fourth verses so that the third verse is a hyper- 
meter : IL 3, 27. III. 29, 35. 
24* 



282 DACTYLIC STROPHES. 

Sors exitura et nos in aeternum 

Exsilium impositura cymbae. 
Cum pace delabentis Etruscum 

In mare, nunc lapides adesos. 

The union of the fourth verse with the first of the follow- 
ing strophe, in Carm. II. 13, 8. 

Hospitis : ille venena Colchica 
Et quidquid usquam concipitur nefas, 

arises from an erroneous reading; instead of Colchica, Col- 
cha should be read. 

As examples of the Alcaic strophe, take the fragment of 
Alcaeus in Athen. X. p. 430, B. 

Ov XQ^ Kaxoiaiv d^vfiov iTTirqimiv ' 
IlQoxoipofiev yaQ ovSsv dadf^svoi, 
Si Bvx^r qidqiiaxov d' ccQiGtov 
Oivov iveixafxeroig [Aed^vad^rjv, 

and Horat. Carm. I. 26. 

Musis amicus tristitiam et metus 
Tradam protervis in mare Creticum 
Portare ventis, quis sub Arcto 
Rex gelidae metuatur orae, 

Quid Tiridatem terreat, unice 
Securus. O, quae fontibus integris 
Gaudes, apricos necte flores, 
Necte meo Lamiae coronam, 

Pimplea dulcis. Nil sine te mei 
Prosunt honores ; hunc fidibus novis, 
Hunc Lesbio sacrare plectro 
Teque tuasque decet sorores. 

X- / - 

(4) 



X- / 



D4CTYLIC STROPHES. 283 

This strophe which was often used by the Greeks partic- 
ularly for scolia, and by Aristophanes also (Eccles. 938 — 
945), but not at all by the Romans, consists of two phalae- 
cean verses, of a verse which is composed of an anapaestic 
logaoedic series (anapaest, simpl. simpl. iamb, acat.) and a 
choriamb, and finally of a verse which is composed of two 
equal dactylic logaoedic series (dactyl, simpl. dupl. troch. 
cat.). The basis in the first two verses, in the remains that 
have come down to us, have, for the most part, the forms of 
a spondee or trochee; in one scolion in Plat. Gorg. p. 451, 
E. de legg. I. p. 631, C. TI. p. 661, A. the basis of the first 
verse is an anapaest : 

'Tyiaiveiv [xsv ccQiaiov dvdQi d^varcp. 

Several times an elision occurs at the end of the second 
verse : 

fDoT^ov /QvaoKOjiav, avaya ^AnoXkcov 

'Elaq)t]^6Xov z ayqoxiqav. 
Olovg avdQag aTzcdl^oag, fA.d)^86d^ai x 

^Ayad^ovg x. r. X, 

As an example take the scolion of Cailistratus in Athen. 
XV. p. 695, A. 

^Ev lAVQTOV yXabi to ilcpog q)OQrj(jco, 
SiaTZEQ Aqiiodiog y! ^QiaToyeizcxiv, 
^'Oze Tov TVQavvov xravtzr^v, 

^laovoi^iovg t 'A&rivag Enoujadrriv. 

(I^ilrad^' 'AQiiodi ov zi nov zs&vrjxag* 
Nrjaoig 5' iv ^laxccQcov 68 q}a6iv elvat, 
'iva TTFQ 7Todc6yr]g A/iXevg, 
Tvdttdr^v ta cpaaiv /Jio^^dea. 

'Ev IAVQ70V yXadi to ^iq:og qjOQrjaco, 
'i267T£Q AQfiodiog X AqiaToydzcxiv^ 
"Ot A&r]vaij]g iv d^vauug 

'Avdqa TVQavvov Innaqyipv iyaivsTTjv. 

Am acpop yXiog eaaezcu ym alav, 
0iXTa{y AQiiodiog x AQiaToyaizooVj 



284 CHORIAMBIC STROPHES. 

On tov TVQavvor ^tavirrjVj 
^Iaov6[xovg x '^drivag iTtoir^adtr^v. 

X- / - 



X- / 



The first two verses consist of a dactyl, duplex duplic. 
troch, acat. with a basis ; the third verse is the same series 
without the basis ; the fourth an anapaest, simplex triplic. 
iamb. acat. Alcaeus uses this strophe inSchol. Pind. Isthm. 
II. 117; Diog. Laert. I. 1, 7. 

'iig yoLQ 8ri nori q)a6ir ^AQiarobaiiov 
^Ev ^JTiaQza loyov ovx anakaiivov etTrrjv 
XQtiiiar dv^Q' nemy^Qog ydq ovdetg 
U^lez ialog ovds liiiiog. 



III, Strophes of the Choriambic-ionic kind. 
A. Choriambic Strophes. 



x 



(1) 



x 



Asclepiadeum tertium. 

The first three verses consist of an Asclepiadeus primus 
(a dimet. chor. with the basis and iambic termination) ; the 
close is a Glyconic. Horace uses this strophe nine times (I. 
6, 15, 24, 33. n. 12. III. 10, 16. IV. 5, 12), The basis 



CHORIAMBIC STROPHES. 285 

with him is always a spondee. The Asclepiadeans have a 
diaeresis after the first choriamb. Elision does not destroy 
the diaeresis, as I. 15, 18. 

Vitabis strepitumque et celerem sequi. 

In II. 12, 25, the diaeresis is neglected in a compound word : 

Dam flagrantia detorquet ad oscula. 

As an example take Carm. I. 33. 

Albi, ne doleas plus nimio memor 
Immitis Glycerae, neu miserabiles 
Decantes elegos, cur tibi junior 
Laesa praeniteat fide. 

Insignem tenui fronte Lycorida 
Cyri torret amor ; Cyrus in asperam 
Declinat Pholoen ; sed prius Appulis 
Jungenturcapreae lupis, 

Quani turpi Pholoe peccet adultero. 
Sic visum Veneri, cai placet impares 
Formas atque animos sub juga aenea 
Saevo mittere cum joco. 

Ipsum me melior cum peteret Venus, 
Grata detinuit compede Myrlale 
Libertina, fretis acrior Adriae 
Curvantis Calabros sinus. 

X / / 

(2) -__..-|-.._._ 



Asclepiadeum quartum. 

This strophe resembles the preceding, except that the 
third verse is a Pherecratean. Horace uses it seven times 
(I. 5, 14, 21, 23. 111. 7, 13. IV. 13). Here, too, the basis 
is always a spondee, and the first two verses have the diaere- 
sis after the choriamb. 



286 IONIC STROPHES. 

As an example take Carm. I. 5. ' 

Quis multa gracilis te puer in rosa 
Perfusus liquidis urget odoribus 
Grato, Pyrrha , sub antro ? 
Cui flavam religas comam 

Simplex munditiis ? Heu quoties fidem 
Mutatosque deos flebit et aspera 
Nigris aequora ventis 
Emirabitur insolens, 

Qui nunc te fruitur credulus aurea : 
Qui semper vacuam, semper amabilem 
Sperat, nescius aurae 
Fallacis ! Miseri, quibus 

Intentata nites. Me tabula sacer 
Votiva paries indicat uvida 
Suspendisse potenti 
Vestimenta maris deo. 

« B. loni c Strophes. 

Many of the Anacreontic poems, so called, may be divi- 
ded into strophes. They have not, indeed, a fixed close; 
nevertheless the strophic structure is readily recognized part- 
ly from a particular verse returning after a certain number 
of verses, partly from a pure dimeter ionic, appearing in a 
particular place, partly from the interpunction and the sense. 
Carm. XXXIX. {f^rj') belongs to the first kind : 
'Or iyco mco rov olvov, 
Tot i(jev rjroQ lavx^ev 

s.^ V. Movaag 

^ " aQisrai hyaivEiv. 

Oi iyco TTico rov olvop, 

IlolvqiQovTid^'g te jovial 
'Eg dXixTVTTovg dqzag. 

Or" iyco tzlco xov oIvov, 
jivai7iaiyiJi,cov rots Bd^iiog 



IONIC STROPHES. 287 

TloXvavd^taiv ii iv avQaig 
/I0V881 fxsd^ri yavcoaagy x. r. X, 

Carm. XLII. (f/) belongs to the second kind : 
Uox^eco fxev /liovvoov 
^hiXonaiyiiovog yoQSiag' 
(Dilsoj d\ oTTOzav iq)rj^ov 
Met a (jvfJiTTotov Xvgi^co' 

^re(paviaxovg d ' vayJvx^cov 
Kgoraqjoiaiv aii(pin)J^ag 
Met a TiaQd^^vojv d&vQeiv 
fl^iXsoj ixdhara Tzdrtcor, 

fl^x^orov ovy. old' i[xov t^toq 
fDiloXoidoQOio yXcortTjg, 
0evyco ^tX6[xva xoag)«' 
2!ivy8co iiiv/^ag naQoivovg, 

IJoXvydiJiovg yard dairag, 
A^eoxhrpJaiv afia xovQuig 
^Ttto ^aQ^frop yoQevojv 
Biov ijGvyov cpt'Qcofxev. 

In Carm. LIV. (va) the strophe consists of fire verses the 
last of which is always the pure dimeter. The fragments of 
Anacreon in Stob. flor. p. 599. Ges. and Athen. X. p. 427, 
A. are strophes of six lines, in which the last verse but one 
always consists of the pure dimeter, as, 

TloXioi (J.8V 7] [IIP ridrj 
KQOiacpofy xd()}] 88 Xev/.ov' 
XaQi8(yaa d ' ovy. fi>' 'H^rj 
ndQa, yr]odX80i 5' odovzEg' 
rXvy8Qov d ' ovy hi TioXXbg 

BlOTOV XQOVOg X8X8l7TZai, 

To the third kind helonor for example Carm. IV. {X), V, 
(/i^'), XXI. XXII. (/t), XLI. (V), and others. 



288 CHORAL COMPOSITION. 

CHAPTER V. 

CHORAL COMPOSITION. 

The form of those poems which, upon certain solemn occa- 
sions, were delivered b}' an entire chorus, or single persons 
with the accompaniment of music, song and dance, we call 
choral composition. The religious songs at the festivals of 
the gods, especially of Bacchus, the festive and mournful 
songs in honor of distinguished persons, and the melic part 
of the dramas belong here. What distinguishes these poems 
above the others, is the greater variety and bolder structure 
of the rhythms. 

We divide them, according to their externa] form, into anti- 
strophic, dvTiGTQOcprAdy and free choral songs, dnoXtXy^sva, 

We call antistrophic choral songs those which are divided 
into single strophes, of which always two correspc nd, xard 
aiiaiv : A A ; B B ; fjiovoGtQOcprAdy and which are frequent- 
ly preceded by a third, as TTQOcpdog: BAA, TTQocpdixd, or 
interrupted by a (lecjcpdog : ABA, iieacpdixd, or followed by 
an STTcpdog : A A B, incpdixd. Such an union of three strophes 
into a whole is called a ZQidg iTzqjdrArj. Four strophes, also, 
may form a whole: A A A B, lexQag mcgdrAij'^ ABBA, 
7taXivq:)dixrj; A B B C, TzeQiwdixi^. A whole of five strophes 
is called a Tzevrdg iTTCpdrArj, The zQidg is the most common. 

In the free songs the rhythms changed, the same verses not 
returning in the same order. 

A. Antistrophic Composition. 

It was employed by the Dorian lyric, the tragic and older 
comic poets. In Pindir we find only examples of strophes 
and antistrophes, and of stroplies, antistrophes and epodes; 
and in the sanje pc em the same strophic trias is repeated. 
It is probable that lie fc^lhws in this the older Dorian lyric 
poets, Alcman and Stesich( rus. The former is, however, 
said, according t(^ Hephaestion, to have written poems which 
consisted of fourteen stro})[)es, of which the last seven had a 
different measure fr(an the first. But in the drama each 
stri^phe and antistr( [)he (occurs but once, and if the choral 
song consists of several pnirs of strophes, each has its own 



CHORAL COMPOSITION. 289 

measure. ( A A, B B, C C ; D, A A, B B, C C ; A A, B B, 

C C, D). Usually the antistrophe follows the strophe with- 
out the intervention of the dialogue; there are, however, ex- 
ceptions from this, as Aesch. Sept. 203 — 207,211 — 215; 
219—222, 226—229; 417—421, 452—456; 481—485, 
521—525. Soph. Philoct. 391-402; 507—518. Arist. 
Av. 451 — 459, 539 — 547. The antistrophe is still more 
rarely entirely wanting, as Soph. Trach. 205 — 224. 

The rhythm of the choral songs is of course influenced by 
the subject of the poem, and the songs are as different with 
regard to their form, as the subject is various. The musical 
mood and the dance, too, were adapted to the subject and 
form. The Greeks had seven principal moods, the Dorian^ 
Aeolian, Lydian, Mixolydian, Hypolydian, Phrygian and 
Ionian. These moods are very different in their character. 
We know them from the statements of the ancients only, 
who frequently describe their effect in a contradictory man- 
ner. Each mood had its appropriate rhythms. 

The Dorian mood had a serious manly character, whence 
it was used in poems in which equanimity and composure 
prevailed. Rational dactyls and grave trochaic and iambicr 
dipodies (Epitrites) form the ground rhythm in poems of 
Dorian composition. The dactyls are mostly trimeters, 
more rarely dimeters, tetrameters and pentameters. Thej 
are all catalectic, and indeed in the middle of the verses com- 
monly in disyllabum; at the end in syllabam also; whence, 
if a choriamb stands as the close, it is to be considered a 
dimet. dactyl, cat. in syllabam. The anacrusis is always 
monosyllabic and long. Cretics occur as closing rhythms, 
and are then to be considered as catalectic trochaic dipodies. 
Logaoedic series, anapaests, ionics, dochmii, are entirely 
excluded from purely Dorian poems. Bases and ecbases oc- 
cur, but usually in a spondaic form. Resolutions of the arses, 
and contractions of the theses are rare. At the end the short 
rarely stands for the long. Proper names, however, allowed 
many liberties. 

The Aeolian style was the opposite of the Dorian ; HeracI, 
Pont, in A then. XIV, p. 624. D. mentions the oyy.og as its 
principal character. Its character is voluptuous fulness, pas- 
sionate quickness and the boldness of genius. This charac- 
ter shows itself rhythmically in the frequent use of irrational 
dactyls, logaoedic, iambic and trochaic series, which are not 
to be measured by metres but by feet (from the dipody to 
25 



290 CHORAL COMPOSITION. 

the hexapody). The Aeolion style delights particularly in 
the forcible collision of arses (antispastic composition); 
whence dochmii occur prefixed to other rhythms. The 
verses commonly begin with a rising rhythm ; whence ana- 
cruses, iambic bases and anapaests frequently occur in the 
beginning. Resolutions of the arses are especially frequent. 

The Lydian composition stood between the Dorian and 
Aeolian. The chief character attributed to it is soft ef- 
feminacy and grace, which sometimes, however, degenerated 
into weakness. It is said to have been used in particular for 
songs of lamentation and supplication. The ground rhythms 
were short trochaic and iambic series (particularly ithyphal- 
lics and tetrapodies), Glyconics, Pherecrateans, longer dac- 
tylic and anapaestic logaoedic series, bases which were fre- 
quently repeated, choriambs, cretics. The arses occur re- 
solved not so frequently as in the Aeolian, but more fre- 
quently than in the Dorian style. 

The Mixolydian and Hypolydian were subordinate species 
of the Lydian. Plato mentions with regard to the Mixoly- 
dian that it was used for songs of lamentation. 

The Ionian, which Plato rejects as effeminate, but Hera- 
clides blames as harsh and rough, was frequently employed 
in tragedy. Ionic rhythms, especially in a pure form, and 
choriambs seem to have been the principal measures. 

The Phrygian mood was the expression of a bacchanal 
excitement, of the highest enthusiasm; usually, therefore, 
in dithyrambs and similar enthusiastic songs. The prevail- 
ing measures were cretics, especially in the form of paeons, 
dochmii in systematic succession, choriambs with frequent 
resolutions, ionic, rhythms, especially in the broken form 
(galliambs), trochaic also and iambic series, bases and ec~ 
bases. 

With all its variety of measure, a choral song, as a whole, 
must have an unity. This unity lies in the fundamental 
theme which is carried through the v^-hole ; for rhythms ar- 
bitrarily strung together do not make a strophe. The begin- 
ning and close in particular, must be distinctly marked. In 
epodic poems, the close of the epode must be stronger than 
that of the strophe or antistrophe. At the beginning, the 
rhythm delights in rising, exciting measures, as iambic and 
anapaestic anacruses, iambic bases, anapaests, dochmii ; at 
the close, calming rhythms, especially catalectic dactylic se- 
ries, logaoedics, ithyphallics. 



CHORAL COMPOSITION. 



291 



The more marked the character of a choral song is, the 
more complete is its composition. Pindar attained the highest 
perfection in the structure of strophes. The whole strophic 
system is to be seen in the tragic choral songs. 

It is not possible to give definite rules for the division of 
rhythms into strophes. A correct feeling, sharpened by care- 
ful exercise, must judge here. A strophe must have a satisfac- 
tory close ; where this is wanting, the strophe cannot possibly 
end. A strong interpunction occurs usually at the end of a 
strophe; yet there are exceptions; compare P. 1. ch. 11. p. 41. 

With regard to the division of the single verses in the 
strophe, it is most imporant to ascertain the verse-endings. 
The indications of the verse-end are found, partly in the 
rhythm, partly in the metre, and partly in the subject. 

The single verses of which a strophe is composed form 
either a single whole by themselves, and as such have their 
introduction, their principal rhythm and their close; or they 
arrange themselves as an introduction to a succeeding verse, 
or as a close to a preceding one. Such verses provided 
with their own introductions and closes for the most part 
occur in the more artful structure of the Aeolian and Lydian 
strophes ; in the more simple Dorian strophe, sometimes the 
introduction is wanting, sometimes the close. 

The following verses may serve as examples t 
Pind. Olymp. IV. 1. 



eparch. numer. primar. clausula. 
'EXatrjQ VTzsQtars ^Qovrag dxaiJtavtoTTodog Zev' real yuQ 

coQai, 
Pind. Olymp. VIII. 1. 



eparch. 



claus. 



num. prim. 

MazEQ CO 'iQvaoarecpdvcov ded^Xoov Ovlviima. 
Pind. Pyth. II. Epod. 5. 

- X- / / - 



eparch. 



ep. n. p. 



cl. 



claus. 



num. prim. 
Qe(^v d ' icpezi^cug 'I^lova cpavtl ravra ^oorolg. 



292 CHORAL COMPOSITION. 

The following rhythms particularly serve as introductions : 
(1) The anacrusis, as Pind. Olymp. III. 2. 



(2) The trochaic basis, as Aesch. Agam. 985. 

X / / 



(3) The iambic basis, more exciting than the trochaic, as 
Eur. Hel. 1139. 



BqokSv iiaxQoraTOv nsQag evqbTv, og ra d^eojv iaoQa, 
(4) The trochaic basis with the iambic anacrusis : 

-X- 



as Aesch. Suppl. 538. 

X / / ~ 

Ilakaiov d' eig t^vog fiersatav [xatsQog dvd^ovofxovg mcondg. 
(5) The trochaic basis with the disyllabic anacrusis : 
x~ 
^--^ (dimeter anapaest, cat.) 
as Pind. Olymp. IV. 1. 



^ElarriQ VTiiQtare ^qovrdg dxaixavroTiodog Zev' Tsai ydq 

COQaL 

(6) The trochaic basis repeated, as Pind. Nem. IV. 6. 



x-x- / 



P^fxa d ' sQyfxdTcov )[Qon(aTSQOV ^torevsi. 
(7) The double trachaic basis with the anacrucis, as Pind. 
Pyth. VIII. 20. 

x-x~ / - 



'Tiov TTola IlaQvaaidt /IcoQiei re zoificp, 
(8) The iambic and trochaic basis united : 

- / X- 

^ — ^ (antispast). 



CHORAL COMPOSITION. 293 



as Aesch. Sept. 347. 

/ X- / 



TlQog dvdgog d' cIvtjq dogl waiver au 

(9) The anapaest, as Find. Pjth. VI. 4. 

Xd^ovog aivvaov Ttgogoixo^evoi, 

(10) The anapaest with an iamb following: 

v-_^_ (Anap. logaoed. simplex simplic. iamb, ac.) 
as Find. Olymp. XIII. 5. 

/ X / - 



JjQod^vQov IIoTeiddvog dyXaoHovQov. 

(11) The cretic or the catalectic trochaic dipody, as Find. 
Olymp. VIII. 21. 

'^Evd^a 2!c6T:eiQa /liog ^eviov. 

(12) The iambic dipody, as Eur. Med. 431. 

t f — 

^v d' ix fi8v oi'A03v TzazQcpoov sTzXevaag, 

(13) The dochmius, as Find. Olymp. I. Ep. 4. 

/ / / / — 



Uoaetddv, met viv xad^aQov Xe^r^rog e^eXs KXcod^co. 

(14) The trochaic dipody, as Find. Olymp. VIII. 3. 

'EfjiTTVQOtg Te'A[xaiQ6[A,evoi TraQaTzeiQOJvtai /liog aqyi'i^eQavvov, 

(15) The trochaic dipody with the anacrusis, as Find. 
Olymp. VIII. 2. 

/ItGTTotv dXad^eiag' ha ixavrieg drdqeg, 

(16) The catalectic trochaic tripody, as Eur. Andr. 123. 



TXdi^ov, dfxqjl Xtxrgcov didvixcov mmoivov. 

25* 



294 CHORAL COMPOSITION. 

(17) The iambic tripody, as Find. Isthm. VII. 10. 



X / 



JTfi TavTokov Xid^ov Tiaqd tig 8tQ8\pev afiizi d'eog. 
(18) Tiie trochaic tripody (ithyphallic), as Find. Olymp. 
I. Ep. 3. 



Tov fjteyaax^svrjg EQaaaaro yaidoxog. 
Besides these introductions (eparches) which occur most 
frequently, others are used, though more rarely. 
The usual closes are the following: 

(1) The catalexis, the monosyllabic which corresponds to 
the anacrusis, and the disyllabic which corresponds to the 
basis as an introduction. 

(2) Logaoedic closes : 



Examples : Find. Fyth. 11. 2. 



X- / 



Tefievog 'u^Qeog, dvdQuiv mncov re oidaQOXctQl^oiv Saifio- 

nai TQowoL 
lb. Ep. 8. 

/ X / X - 

Tov eveQyezav dyavalg diioi^aXg STioixoiisvovg tivead^ai. 
Pyth. VIII. Ep. 4. 



To^oioi r 'AmXkcovog' og evfievai vocp. 
Nem. VII. Ep. 1, 5. 



CHORAL COMPOSITION. 295 

Aoyov ^OSvaaiog rj ndd^ev 8ia rov ddvaTtij yeviad^ '^0[irjQov. 
(3) Trochaic series : 
/ — 
-^ trochee, ecbasis. 

-^- monom. troch. cat., cretic. 

- ^ - ^ monom. troch. acat. 

- ^ - ^ - tripod, troch. cat. 
------ tripod, troch. acat., ithyph. 

- w _ w dimet. troch. cat. 

f — f — 

---^ V dimet. troch. acat. 

Find. Pyth. I. 2. 

t f f f X— 

2JvvdiH0v Moiodv Hitavov zdg dxovsi ^ih ^dcig, dyldiag 

dQxd. 
Olymp. V. 1. 

X / / / - 

'Tiprildv aQezdv xai aT€q)dvcov dcotov yXvHvv, 
Olymp. XIII. Ep. 3. 

/ — / / — 



^vv ^orikdra ^dQireg did'vgdfi^cp. 
Pyth. XL Ep. 3. 

'Ev rQ) 0Qaavdaiog 'sfivaaev iariav, 
Olymp. V. 3. 



^HafiavroTTodog x dnr^vag dsnev Waviiiog re dwQa. 
Nem. I. Ep. 3. 



296 CHORAL COMPOSITION. 

Aaov in7tai)iiiov d^a^ia drj }ial 'OXvfA.mddcov cpvlXoig iXaiav 

XQVGsoig, 
Isthm. I. Ep. 4. 



'H KaazoQSLCp ^ "loldov ivaqiio^ai iiiv vfjivcp. 

Besides these, other closes occur, although less frequently. 

To the rhythmical indications, according to which each 
verse manifests itself as a whole or an essential part of a 
whole, must be added the metrical indications also, — the hia- 
tus and anceps. Although the hiatus is a sure mark of 
the verse-end, yet those cases must be excepted in which the 
hiatus is permhted in the middle of the verse (P. I. ch. 8. p. 
30). But if in longer strophic poems, as those of Pindar, even 
the allowed hiatuses occur frequently in one and the same 
place, the probability that there is a verse-end becomes very 
great. A single hiatus is sufficient in the tragic and comic 
poets to prove a verse-end, since they are more careful to avoid 
it than the lyric poets. In dactylic verses a short becomes 
sometimes long by the force of the arsis (P. 11. ch. 2. p. 82); 
such a syllable, therefore, is not to be considered as an 
anceps. 

The hiatus and anceps were frequently by later gramma- 
rians removed by the / or r fulcrum ; when either occurs 
frequently in the same place, it is to be removed. 

Asynartete verses, which belong only to a lower structure 
of rhythm, are not to be admitted in choral songs; in lyric 
poets, however, although very rarely, the hiatus occurs at 
the juncture of the series, as Pind. Isthm. I. 16. 



/ — 



'H KaaroQeicp rj 'loldov ivaQfxo^ai fiiv vi^vq>. 
With every verse a word also must end, whence broken ver- 
ses cannot be admitted. Apparent exceptions occur in series 
systematically repeated which, for this very reason, are not 
to be considered as verses. The separation of a verse in the 
juncture of a compound word is equally wrong. 

Apostrophized words at the end of a verse, with few excep- 
tions, as Pind. Olymp. III. 25. 

/Irj rot ig ycdav TzoQevetv d^vjA^bg coQiiaiv 
^lazQiav vi^ ii. r, I, 



CHORAL COMPOSITION. 297 

rest for the most part on incorrect readings. The elision, 
however, at the end of a series is not offensive in series sys- 
tematically repeated. It is not considered well to close a 
verse with a word that belongs closely to the following; 
whence articles, prepc^sitions, conjunctions, interjections 
occur but seldom at the end of a verse, as Soph. Trach. 
1009. 

'IlTrrai fiov, rororoL t^d' avd^ 8Q7ie(. ttox^ev s6t, co 

ndvtcov 'EXldvcov ddrAcoraroi dviQeg, ovg drj. 
Eur. Tro d. 3i5. 

'Enel av, ^laTSQ, im ddxQvat iial 

FooiOL Tov d^avovra TiazeQa TiatQida re. 
Soph. Phil. 184. 

2J7:rAt(Sr 7] Xadicov [isrd 

0t]Q(ioV, 8V T odvvaig OfXOV. 

Apparent exceptions occur in series systematically repeat- 
ed, as Soph. Oed. Col. 684. 

Aqioiov GTScpdvcof/ , rs 
XQVGavyrjg yiQOHog * ovd' dv- 
Tivoi 7<Qijvat iiivvd^ovaiv, 

Eur. Tread. 193. 

Ney.vcov d^i^vrivov dyakii , rj 
Tdv naqd nQod^vQOig cpvla^idv ^iari^ovd^ 
'jH" naidcav d^QtnzeiQ y d TQoiag, 

In the same manner a word belonging closely to the pre- 
ceding should not commence a verse ; here, too, single excep- 
tions occur, as Pind. Isthm. VIL 10. 

'ETieidrj tov vmQ xscpaXdg 

Fs TavzdXov Xi&ov naqd rig sTQEipsv diAjii d^eog. 
Nem. IV. 64. 

'^Ovv^ag oivtdtovg dxfAav 

Te deivoTazcov a^daaig odovroov. 

The interpunction, also, and in scenic poems, the change 
of persons are frequently indications of a verse-end. The 



298 CHORAL COMPOSITION. 

poet, however, often places purposely one or several words 
of the sentence at the beo^inninff of the verse, in order to em- 
phasize them more strongly; compare P. L ch. 11. p. 41. 

It is finally to be observed that in scenic poems sometimes 
in the same place, especially at the beginning or end of a 
strophe, like or similarly formed words occur. This applies 
especially to interjections or phrases taking their place. 
As examples take Aesch. Prometh. 580 ; 600. 

'^E e, oi()tQ?]Xdtq} 8s detjjaTt dEiXatav, 
'^E €. 6X1 QTi] fiat cov ds vri6Ti6iv alxiaig. 

Aesch. Agam. 1162, 1173. 

Ti rods TOQov ayav sTtog iq)7]fA.taco, 
'ETiojAeva tiqozsqoigl tad' 8(p7]ixi(TC0, 

Soph. Ant. 360, 370. 

UavtoTroQog, aTzoQog in ov8sv 8Q)[8tai, 
'TyjiTioXtg, aTiohg, otcp to (xtj xaXov, 

If all the criteria of the verse-end fail, then the division of 
the verses remains, of course, doubtful. 

If the strophe has been divided into verses, it remains to 
determine the rhythms of the single verses. Here, too, no 
general rules can be given, but a correct feeling must de- 
cide. Often an entire verse or a part of it may be arranged 
in different ways. In this case that rhythm is to be se- 
lected which best suits the character of the whole poem ; and 
the adoption of unusual measures should be particularly 
avoided. 

Several consecutive shorts or longs cause great difficul- 
ty. Analogy is here the safest guide, as Soph. Aj. 1185. 



Tig aQa viatog eg note Xi^^et noXvTtldyxtMV itscov aQid^iiog, 

Here the first six shorts may as well be a trochaic as an 
iatnbic dipody, a resolved choriamb, an iambic and trochaic 
basis ; but it is clear from the following verse : 



/ — / 



Tav anavatov aih ifiol doQvaaovtcov, 
that they are to be measured by trochees. 



CHORAL COMPOSITION. 299 

Soph. Elec. 153. 



OvtOl aOi (XOVVCCy T8HV0V 

may be arranged in different ways, either as a dactylic 
rhythm : 

/ / / / 

tetramet. dactyl, cat. in syllab. 

or as an anapaestic rhythm : 

dimet. anapaest, cat. 

or as a dochmius with an iamb prefixed : 



or lastly as two irrational cretics with an anacrusis prefixed : 



/ / — 



The latter has the most probability, inasmuch as 160 and 
161 have also the same rhythm without the anacrusis : 



/ r^ / 



rd 71078 MvyJjvamv, 



I. Antistrophic Songs of the Dorian lyric poets. 

The first Dorian lyric poets of note are Alcman, Ste- 
sichorus and Ibycus. Of their works we possess only frag- 
ments, in which the dactylic-anapaestic and trochaic-iambic 
rhythms prevail. For examples, we cite the following frag- 
ments : 

Alcm. in Apoll. Lex. Hom. p. 407. Toll. 



X / 



300 CHORAL COMPOSITION. 



Evdovaiv d' 6q8cov y.0QV(pai ts yioi (fUQayyeg, 
IlQoovsg re xai y^aQadgai, 
(pvld #' ?Q7T87a ^' 066a 7:Qsq)ei [xelaiva yaia, 
QrJQsg oQe6H(poi t£ xai yivog iAeX(66Mv, 
Kal xvcodaX iv ^8V'&s66i noQcpvQag alog, 
Evdov6i d' OLcovojv cpiXa ravvTtzeQvycov, 

Stesich. in Ath. XI. p. 469. E. 



^Ashog 5' 'T7t£Qiovtdag dsTzag igxat^'^aivs 

Xqv6sov, ocpQa di coxeapoio 

TlEQd6ag dcpixrjd'' i8(jdg nor) ^tvd^ea vvxrog SQSfivdg, 

JJoTi fxarsQa xov()idlav t dlo^ov 

Uaiddg ts cpiXovg ' 6 d' eg dX6og e^a 

/Idq)vai6t xaid6xiov no66\ naig zliog. 

In Pindar's Epii)icia, two principal styles may be distin- 
guished ; the Dorian and Aeolian. The Lydian holds the 
middle place between the two, approaching sometimes the* 
Dorian and sometinies the Aeolian. 

Among the undoubtedly Dorian strophes, Bockh classes 
Olymp.lll; Pyth. I, III, IV, XII ; Nem. I, IX, XI; Isthm. 
I, II, III, IV, V. 

We take as an example Olymp. III. The elements of 



CHORAL COMPOSITION. 301 

these as of all the Dorian strophes are very simple. They 
consist here of grave trochaic measures and dactylic trime- 
ters. The simplest trochaic element is the iambic anacrusis, 
which, however, here always appears as a long, V. 2, 3, 4. 
Then the trochaic element increases in the following grada- 
tions up to the trimet. acat. : 

- - - monom. cat. : V. 2, 4. Ep. 3. ^ 

-.w_w monom. acat. : V. 1, 3. Epod. 2,. 4. 

_ w _ w _ ^ _ (limet. cat. : Ep. 2. 
/ — / — I 

-w_w_v._^ dimet. acat.: Ep. 1. 






_w__^__v._^_w_v. trimet. acat. : V. 4, 5. Epod. 5. 
The long is everywhere used in the even places, except 
V. 14 and 26. 

The dactylic element consists of 



trimet. cat. in syll. : Y. 1, 2. Ep. 1, 4. 



_w.«wv«. trimet. cat. in disyll. : V. 1, 2, 3, 4. Ep. 2, 3, 4, 

The closing thesis of the latter appears always as long. 

The verses always end with the arsis, except the closing 
verse of the strophe and epode, which, on account of the 
close, ends with the thesis ; but this also appears everywhere 
as long. 

The theme of the whole lies in the first verse. 

Str. --^---- .._.._ 



/ / 



/ / / 



26 



302 CHORAL COMPOSITIOr^. 

Epod. -^ ^ ^w-^w_ 



6rQ, TvvdaQidaig re q)iXo^eivoig ddatv >iaXXi7rXoy.d[xq) d^^ 

KXeivdv "^xQciyavta yeQaiQOJv EV'^ofxai, 

QriQcovog 'OXvfimovixav v^vov oQd^coaaig, dxaiiavTO- 

Tiodcov 
Itittcov acoTov. Moiaa d' ovtco roi naqiara [loi veo- 

ciyaXov avQovn zqottov 
/lo3Qiop q)(ovdv Bvaqiio^ai TtedtXcp 

dvr, 'AyXao'ACOjjiov, iTzel lairaiai iisv ^ev^S^evTeg mi Gti- 

(pavoi 
nqdaaovri [je tomo d^eodiiatov XQ^^^j 
fhoQiiiyyd le TtorAiXoyaqw xat ^odv avXcov tnmv is 

d^iaiv 
^iVTjOidaixov Tzaidt aviifu^ai 7TQ87tovTcog, a re IJiacc 

lie yeycoveiv * rag dno 
OevfAOQOi viaaovr stt dvO^QWTiovg doidai, 

mc^S. fii rivi, xQaivow eqjeriidg 'HQaxXtog itQoreQag^ 

'^rqeyirjg 'EXXavodixag yXecpdqo^v AiroiXog dvrjQv^po- 

dev 
^y4[ji(fc KOiiaiGi ^dXri yXavAo^Qoa 'Aoafiov iXatag • rdv 

Ttore 
'7arQ0v dno axiaQav naydv evetxev ''Afxq)irQvco'Piddag, 
Mvdixa rojv Ovlviinla y,dXXi6rov dMcov, 

Bockh finds an approximation totheLydian in Olymp. VI, 
VII, VIII, X, XII; Pyth. IX; Nem. V, X. 



CHORAL COMPOSITION. 303 

As an example of a strophe thus modified, take Olymp. X. 
The elements are almost the same as ahove. 

Trochaic Element. 

- - - inonom, cat, : Epod. 3, 
f — 
---- monom. acat. : V. 1, 2, 3. Epod. 1, 3, 8. 

_ . ^ s. _ o _ dimet. cat. : V. 5 ; Epod. 6, 7, 9. 

_v._._._. dimet. acat.: V. 4, 6 ; Epod. 9. 

_w_w_w_w__«._ trimet. cat. : Epod. 4, 5. 

In the even places, the short often stands, as V. 6; Epod. 
4, 5, 6, 9. The trochaic arsis appears resolved Epod. 3. 

Dactylic Element. 
--"'- dimet. cat. in syll. : V. 3. 
_ w w _ ^ dimet. cat. in disyll. : Epod. 8. 
_ o . _ .. . _ trimet. cat. in sylL : V. 2, 6. Epod. 3. 

_w^_^s. — trimet. cat. in disylJ. : V. 1, 4. Epod. 1, 2, 7. 

Besides the closing verse of the epode, several others also 
end here with the thesis, which sometimes also presents itself 
as a short. The collision of the arses in Ep. 3 and 9, is also 
to be observed. 

The principal theme again is found in the first verse. 

Str. v._..__ 



304 CHORAL COMPOSITION. 



Epod. 



OTQ. '^Eariv avd^Qc^noig dvefxcov ore nleiara 
XQTJaig, tanv d' ovQavicov vddrcov 
'OfA^QiOJVf TiaidcDv rscpsXag. 
Ei ds ovv Tiovcp tig sv tiqccgooc, fiekiyaQveg v^ivoi 

TtXXerai xal Tiiarov oqmov iieyakaig aQStaTg. 

dvr. ^Acpd^ovrirog d ' alvog 'OXvfiTnovixaig 
Ovrog ayy.urai ' rd {asv dixsrsQa 
rXdoaaa Ttoifxaivatv iS^sXei ' 

'Ex xf-Eov d' dvrjQ Gocpaig dvd^ei iaaet TtQamdeaaiv, 
'7od^t vvv, '^QxeotQarov 
rial, redg, '^ytjaidafAS, nvy\iaylag evexev 

iTTopd. Koaixov ml arecpdvc^ XQvamg ilaiag 
'y4dv{jieXrj xeladi^aco, 



CHORAL COMPOSITION. 305 

Tojv ^Em^EQpvQLo^v Aoy.Qoiv yeveav dXeycop. 
'^Evd^a 6vy'Aco[xd^ar , iyyvdaofxai 
M'Ti [Alv, CO Moiaai, cpvyo'S.evov atQarhv 
Mijd'' dmiQarov ycalmv. 

""AxQo^^ocpov ds xal alxf^ardv dqpi^ead^at ' to yaQ 
^Efxq)V8g ovx aid^cov dlcoTzi]^ 
OvT SQi^Qoiioi leovreg dialld^aivro ijd^og. 

Bockh cites as undoubtedly Aeolic : Olymp. I, 11 ; Pyth. 
II, V, VI, VII, VIII, XI ; Nem. VII. 

As an example take Olymp. I. The two principal ele- 
ments of which the strophe is composed are light trochaic- 
iambic rhythms and dactylic-anapaestic series. 

Trochaic-iambic Element. 

Trochaic Rhythms. 
X 

-- monopod., basis : V. 1, 4. Ep. 2, 6. 

--- dipod. cat., cretic: V. 2, 7^ 9 (twice), 10; Epod. 3, 
4, 6, 7. 

----- tripod, cat. : V. 6, 10; Epod. 1 (twice), 2, 5, 6. 

------ tripod, acat. : Epod. 3. 

- - _ w _ ^ _ tetrapod. cat. : V. 3, 5, 11. 
-------- tetrapod. acat. : V. 7. 

-w_w_>w_^_^_w hexapod. acat. : V. 6. 
Iambic Rhythms. 

The iambic anacrusis : Epod 6. 
-- monop., iambic basis: V. 1,2,9, 10, 11 ; Epod. 1,2,4,7. 

------------ hexap.: V. 8. 

26* 



306 CHORAL COMPOSITION. 

Dactylic-anapaestic Element. 

Dactylic Rhythms. 

r 
— -^- dimet. cat. in syll.: choriamb: V. 6, 7; Ep. 2, 3, 5. 

f — 
— ^^-- dimet. cat. in disyll. : V. 1, 4; Epod. 4. 

_wv._ww«ww_v. tetramet. cat. in disyll. : V. 2. 



-^^ -^- dactyl, log. simpl. dupl. troch. cat.: V. 1. 
Epod. 1, 6, 7. 

— " ^ - ^ - - dactyl, log. simp. dupl. troch. acat. : Epod. 4. 



Anapaestic Rhythms, 
t 
*^ ^ - ^ dimet. cat. : Epod. 5. 

The more frequent resolutions of the trochaic and iambic 
arsis in V. 2, 6, 8, 9, 10, 11. Epod. 1, 2, 6, are to be noted ; 
the strong collision of the arses in V. 1, 2, 6, 7, 9, 10, 11. 
Ep. 1, 2, 3, 4, 5, 6, 7. 

/ / X - 

Str. w_v._.w..._. 



X / 



CHORAL COMPOSITION. 307 



Epod. ^-^^w_.__. 



azQ. J4qi6tov iih vdojo, 6 ds yQVohg ai&6f.t8vov ttvq 
Are diaTTQeTzei vvxrl fxeydvoQog s^oya nlovtov ' 
El d' aed^la yaqvev 
''EXdeai, cfiXov tjzoq, 

M7]yJ&' dliOV a'AOTTBt 

J4lXo d^alnvoTBQov iv d^usQa q}a8vvov darqov igi^fiag 

di ai&8Qog' 
Mrib^ 'OXvfiTTiag dyojva cf^Qzegov avddao(A8v ' 
"0{y8v 6 TTol.vqjazog v[xvog d^ucpi^dXXezai 

Kqovov 7iald\ ig dcpvedv iy,oix8vovg 
3Idy,aiQav 'leQcovog saziav, 

dvz. Qeiiiazeiov og diicpmei ayaTizop iv TtoXvfidlqj 

2r/.8Va, dotTtcov ii8v y,0Qvq:dg dgezdv dno nuad.v ' 
Ayla{<8zai di yal 



308 CHORAL COMPOSITION. 

Movatxag iv d(6tcp, 
Ola 7iai^o[X8v cpilav 
J4vdQeg d^xcpl d^a^id rgaTre^av, dlXd /IcfjQiav dno (poQ- 

(jiLyya naaaakov 
ytdpi^avy si! ri rot Utaag rs 'Aoi 0eq8vixov x^Q^'S 
A^oov V710 ylv'Avrdraig 'id^Tjxs opQOVTiaiv, 
Ore TtaQ AXcpec^ avro dsfjag 

J[K8Vr7]rOV iv dQOflOtOt 7iaQ8)r03V, 

KqareT ds TiQogsfxt^e deaTzorav, 

87Z\^8. ^ZvQaxoaiov iTtTzoy^dQiiav ^aoiXrja. XdfXTiei di ol xkeog 
'Ev 8vdvoQi Avdov UeloTiog dnoiMa • 
Tov fjtsyaad^evfjg iQaaaaro yaidoypg 
rio(y8iddv, 87181 viv xad^aQOv Xs^Tjrog s^els KXood^ca 
^EX8q)avri cpaidifjiov cofxov K8xadiJ.8vov, 
'H d^av^iara noXXd, xai nov ri xac ^Qormv cpdxiv vtzIq 

rov dXad^rj Xoyov 
/JedaidaXfxivoi xpevdeat TiotxiXoig 8E,a7tarwvri fjcvd^oi. 

Of a mixed character are Olymp. IX, XI ; Nem. Ill, VL 
Take as an example Nem. III. 

Trochaic-iambic Element. 
The iambic anacrusis : V. 1, 4, 5, 6; Ep. 2. 

X 

-- monop. troch., basis: V. 3, 4, 5; Ep. 2, 3, 4. 

--- dipod. cat.: V. 1, 2, 4, 7; Ep. 2, 5. 

- - - - dipod. acat. : V. 6, 7 ; Ep. 1. 

- tripod, cat. : V. 2, 3 ; Ep. 4. 

------- tripod, acat. : V. 2, 5, 8 : Ep. 2. 

Dactylic-anapaestic Element. 

---- dimet. cat. in syll. : V. 1, 5; Ep. 3, 4. 



CHORAL COMPOSITION. 309 

/ 

_wv._w dimet. cat. in disyll.: V. 6; Ep. 1, 3. 
_ w ^ _ w _ dact. log. simp], dupl. troch. cat. : V. 3, 4, 7. 
_ww_w_w ja(.|;^ iQg sin^p]. dupl. troch. acat. : V. 1 ; Ep. 4. 
_ww_v._w_ dact. log. simpl. tripl. troch. cat. : Ep. 2. 
_ww_ww_v._ dact. log. dupl. dupl. troch. cat. : Ep. 5. 

^ ^ - " " - " tripod, anap. cat. : Ep. 5. 

ww__w^_.__w anap. log. dupl. dupl. iamb. cat. : V. 8. 

Str. _-w^-^-.._.o-.-w^ 



x^ / 



/ ^ 



/ X / 



X^ / 



/ — / 






Ep. -..-.-. 

X / X / 



310 



CHORAL COMPOSITION. 
X / / 



CTQ, [2 TtoTvia Motaa, [xareQ dfiet^Qa, XLaaofxai, 
Tav TToXviivav iv ieQOfJTiVia Ntixeddi 
1x80 /JcoQtda vdoov Al'yivav, vdati yocQ 
M^vovT in ^Aacomao ixsXiyaQvmv rsxroveg 
Kojfjxov veavtai, aid^ev ona \iaid\i8voi, 
Ai\\)rj^ hi TTQayog alio iih aXXov • 
^d^lopr/Ja ds iiakiar doiddv cpiXei, 
2^tsq)avcov aQezdv re de^icotdrav onadov. 

art. Tag dcpdoviav oTta^e [X7]Tiog d^idg dno * 

■^QX^ 5' ovQavov TToXvveqjtXa xqsovtl, d^vyateq, 
/loxifiov vfjivov ' iyoj ds KSivodv rs iiiv odqoig 
Avqa ra KOLvdaofiat. yr^aqievra 5' iS^ei novov 
XcoQag dyaX[xa, MvQfxidorag Iva TZQoteQOi 
'iiiK7](yav, cov naXaicparov dyoqdv 
OvK iXey^teaaiv lAQiaroxXsidag redv 
Efxiave xax alaav iv Tieqiad^evel fiaXa][d^eig 

£7t. UayxQariov aroXcp • xafjiarcadscov ds nXaydv 

Axog vyiTjQor sv ye ^ad^vTztdoj Ntiisa to xaXXivixov 

q)8Qei. 
El d 80JV xaXog aqdcov z ioixota fioqqjd 
^AvoQ8ajg VTTEQrdraig 87Z8^a naXg 'AQiaroq)dv8vg ' ov- 

yJrt TTQOcjco 
""A^drav dXa xlovojv vtzIq 'HQaxXkvg TtSQav 8viiaQ8g, 

The Lydian, which occupies a middle place between the 
Aeolian and Dorian, sometimes approaches the latter, as 
Nem. VIII ; sometimes the former, as Olymp. IV, V, XIII, 
XIV. ; Pyth. X. Nem. II, IV. ; Isthm. VI, VII. 

Take as examples Nem. VIII. and Olymp. V. 

Nem. VIII. is composed of trochaic-iambic and dactylic- 
anapaestic elements. 



/ — / 






/ — / — / — - 



CHORAL COMPOSITION. 311 

Trochaic-iambic Element. 
The iambic anacrusis, as a long: Ep. 1, 4, 

X- 

-- monop., basis: V. 1. 
-^- monom. cat., cretic: V. 4; Ep. 3, 5. 
-^-- monom. acat. : V. 1 ; Ep. 2, 3, 4, 5, 6 (twice), 
dimet. cat. : V. 5. Ep. 1. 
dimet. acat. : V. 5. 
' - - trimet. acat. : V. 2, 3. 
«v._^_w_^__v.__w_v._w_v._ pentam. cat. : Epod. 6. 
-^-^- tripod, cat. : Ep. 4. 

Dactylic-anapaestic Element. 
-^^- dimet. cat. in syll. : V. 2; Ep. 6. 

~^^-- dimet. cat. in disyll. : V. 1. 

-ww_v.w_ trimet. cat. in syll. : V. 3; Ep. 1, 2, 5. 

_ww_v.s._v. trimet. cat. in disyll. : V. 1 , 4 ; Epod. 3, 6. 
^ ^ - monop. anap. : Ep. 3. 



/ -- / — / — / 



^ - - - - — tripod, anap. cat. : V. 4, 

X— / / / — 



Str. 



/ — / 



— / 



312 CHORAL COMPOSITION. 



/ / 



/ — / / — / — 



Ep. .. — . 



atQ. ''ilqa norvia, xdqv^ 'AcpQodiTag dpt^QOGiav (pilordrcoVy 
'Are TiaQd^evriioig Traidcov % l(fi'C,oi6a ylecpaQO^, 
Thv iJilv dfxsQoig dvdyxag %eQ6l ^aazd^eig, heqov 5' 

STSQaig, 
"Ayanazd de xaiQov iatj nlavadivra TiQog sQyov sxaatov 
l^cov dQewvwv iocozcov sTtiXQareTv dvvaad'ai. 

dvz. Oioi xal /I log Alylvag re Xextqov TToif^eveg diAcpeTtoXrjaav 
KvTTQiag dooQoov * s^laarev d' viog Olvojvag ^aailevg 
X8iqI xal ^ovlaig aQiGTog. nolld viv ttoXXoI Xizd- 

vevov ideiv ' 
A^oarl yaQ rjQOJCov doozoi TTEQivaiszaovzcov 
'^H&eXov X8LV0V ys neld^^ad^^ dva'^laig sxovzegy 

ijicpd. Oi ze xQavacug Iv A&dvouai.v aQpiol^ov azQarov 

Ol Z8 dvd ^^TidQzav UeXoTirftddat. 

'/yjrag Alaxov 68(a.'Pcov yovdzcov TZoXiog x>' v718Q cpiXag 

Aozodv {y v7t8Q zoovd' a7zzo(iai q)tQOdv 
' Avdiav (xiToav xavayrfid 7Z8noi7.ilix8vav, 



CHORAL COMPOSITION. 313 

Aeiviog diaaajv aradicov y.ai natQog Msya Nsfxeaiov 

ayalfxa. 
2^vv d^ew yciQ tot qjvtevd^elg oX^og dvd^QMTtotai TiaQixo- 

voozeQog. 
Olymp. V. 

Trochaic Element. 
X 

-~ monop., basis: V. 1, 2; Ep. 1, 2. 

--- dipod. cat., cret. : V. 1, 3; Ep. 2. 

-w w tripod, ac, ithyph. : V. 2, 3; Ep. 1, 2. 

Dactylic-anapaestic Element. 
-^^- dimet. cat. in syll. : V. 1. 
_v.w_v.._wv._ tetram. cat. in syll. : V. 2 ; Ep. 2. 
-.ww_v.w_^w-^ tetr. cat. in disyll. : Ep. 1. 
-ww-w- dact. log. simpl. dupl. troch. cat.: V. 1. 
^^-^^-^- anap. log. dupl. simpl. iamb. ac. : V. 3. 

X / / / 

Str. — — — -- — — 



X / - / 



X / 

Ep. — ^ 

X / 



ctQ, ^T\V7]ldv aQSzav xai arecpdvMV dcorov y7.vxvv 

Tojv Ovlv^ma, V^xeavov d-vyarsQ, KCiQdia yelavBi 
'Ay^aiiavroTiodog x dnrivag dsyev Waviiiog t8 d(SQa, 

27 



314 CHORAL COMPOSITION, 

dvr, 'Og: rav cav noXiv av^Mv, KaiiaQiva, XaotQ6q)0V 

Bcofxovg 8^ didvfJMvg iysQaQev soQtatg d^acSv fAsytaraig 
^Tno ^ov&vaiaig dsd^Xcov re ntiiTizaii^Qoig dfxiXXaig, 

i7i(pd, '^Innoig ^fjiwvoig te iiovaiinvMa re * rlv ds Kvdog 

d^QOV 

Ni-adaaig dved^rj^Ae, yia) ov narsQ' '^^xqcov VAaQv'^e 
xac rav vsotxov edqav, 

II. Antistrophic Songs of the Dramatists. 

We distinguish in the dramatic songs, the ardai^a, which 
were sung after certain divisions or acts of the piece, by the 
whole chorus alone in the orchestra, and the songs of indi- 
viduals, which were delivered partly by the acting characters 
alone {ibiovq>diat, rd dno ay.rjvrjg), partly alternating between 
the persons on the stage and those of the chorus (xofifioi), 
partly by the chorus in single voices {xoi^fxarixd). 

The Stasima, which may be sometimes longer, sometimes 
shorter, are antistrophic, and resemble more or less the 
choruses of the Dorian lyric poetry already considered. 

We will cite a few strophes as examples, and arrange them 
according to the rhythms which predominate in them. 

1. Tr oc haic - iamb ic Choral Songs, 
(a) Strophes of a trochaic princifal rhythm. 

Aesch. Eum. 490—498; 499—507. 508—516; 517— 
525. 



CHORAL COMPOSITION, 315 

/ 



atQ. a , Nvv xaraatQocpai vicov d^eafjitcov, 
El KQari^ast dlxa re xal ^Idfa 
Tovds fA,r]rQOKr6vov. 
ndvrag ridrj rod ' i^yov ev'^eqEia avvaQfioasi ^qo- 

rovg. 
Holla d' itvfxa naidotqcota 
Udd^ea nqoaiiivei roxevatv, fistd t avd^ig iv XQ^vcp* 

dvr, a , Ovts ydq ^QoroaxoTtoov fiaivddcov 

TcSvd' iq)£QXpet xorog tig iqyfidroov ' 

TIdvt icpi^aco ^looov. 

TTavasrai d ' dllog dllod^ev, TiQOifcovSv ra r<Sv Tii- 

lag xaxa 
Arj^iv VTtodoaiv rs ^loy^d^cov 
Ovyiir ov ^i^aia * rld^cov ds fidrav TiaQrjyoQSi, 

arq. /?'. Mrjds rig xiKlT^axerco 
Sv[j.cfOQa rervfiixevog, 
Tovr BTiog ^Qoov(j.svogy 
a diHa, 



316 CHORAL COMPOSITION. 

S2 d^QOVOt T 'EqcVVCOV 

Tavra rig ta'i av narriq 
'^H rexovaa reoTtad^tjg 
Olxrov olxTiaair'y iTiei- 
8)] TtixvEi dofiog dixag» 

dvr. /?'. '^Ead^ otzov to decvov ev 
Kac q)Q8V(Sv miOKOTtov 
/leiixavac xad^i^fievov. 
AVfAqjSQet 

2!coq)Qov8Tv vno artvsi. 
Tig ds (ATjdsv iv opdei 
Kaqdiag dvatQECpcov 
'^H nolig ^QOTog S-' ofxoi- 
(og at dv os^oi dixav ; 

(b) Strophes of an iambic principal rhythm. 

Aeschyl. Choeph. 22—31; 32—41. 42—53; 54—65. 
66—83. 



/ / 



->//>/ 



X X X / 



<srQ, f. 



iTzmd, 



CHORAL COMPOSITION. 317 



->/ / 



/ / 



/ / 



/ / 



/ / 



/ / 



/ / 



X 



— / 



/ / 



X X /- 



/ / 



/ / / 



/ / 



27* 



318 CHORAL COMPOSITION. 



/ / 



X / 



/ » / 



/ — / 



ctq, a, 'laXros ix dof^cav £^7]r 

Xoag TiQOTTOpiTtog 6^v')(^8iqi avv yitVTicp, 
IlQSTiei 7TaQ7]ig cpoivioig dixvyfjiotg 
'^Ovvy^og aXoxi veotoixcp, 
/It aidovog d' lvy[xoT(Ji ^oaxetai asaQ, 
^Lvocp&OQOi d' vcpaaixatcov 
Aaxideg 'icpXadov vn akyeaiv, 
IlQooteQvoi Gtoliioi TimXcov dyeXdatoig 

AVlACpOQalg 7l87lX7]y(A8VCOV. 

dvt. a\ ToQog ydq oQ^od^qi^ (po^og, 

^Ofxaw oveiQOfxavTLg, i^ vtzvov xotov 
Uvecov, dooQovvKtov diA^oajxa 

rvvaixEioioiv iv dojfAaoiv ^aQvg mrvcor, 
Kqiral zs TcSvd' oveiQdrcov 
©sod^ev slaxov vniyyvoi 
M8fxq)e6d^ai rovg ydg t^sQd^sv TreQid^vfxoog 
Toig KtavovGi t' iyxorsTv. 

CtQ, ^ , Totdvda ^dqiv d'/^aqiv^ aTtorQonov xaacSv, 
""loo yaia iiaia, [xcofxeva ^i IdXlet 



- 11. UAL COMPOSITinv 319 

/JvcOho^ yvtd. (jo.^ovutu ^ tritiy roti tA^juXilf 
Ti y(C() ).vT{Por fiiaovT'*^ (timcTo^ rrtdq) ; 
'/oi maoi^v^ iatia, 

*J(0 XUTlKTXUqUI ^OtiOJT, 

^rt\hnu ^QOTO^TvyiT^ 

/Jro(jot xa),v:TTov6i dofiov^ 8i<J7roT(Of ^ariiroici. 

rr.^. 2^t]S(c^' d* uftu-(ory dduuaroty (c.ToUfior to ;T(>/r, 

Nifv dqiijTarcu. (fo^tiroi 6i u^. to S' evrv^up 
Tod* it ^^(>oroiV Oto^ tt Aiu Oiov rtUow. 
Ponr^ d tTuriXonkl dixto; 

Ta d ir fifTui/jiim trxorov 

f/>l^/ yitti} I ntTif ,titti ' Tfit\; i' //y/w/irr»v' >/>! ft *■ 

t7T0)d. /It ifimf.r r/.nrnfnif i,t / ' ■ - ' 
Tiia^ goio^ rrtTitjn, or . - * , > 
^^Ttj 8i(xlyifi;^ diaqi^u top cutiow 
Ilavit{txtra^ rodov. 
Oiyorzi d' ovti rvfiqixtur idio)j€OP 
y4xo^, 7to(f€H Tt ndfXf^ ix /i/av o9ov 
DaivovTk^ Tor x^QOfiva^ 
0orof xuOui\KtrTf^ iovnar dn^r, 
EfAot d , ardyxav ytm uitqi:TTo)jr 
Qtoi n{m^i]rtyxaf. ix yit^t oixtof nuTQfj^r 
/lovhov i^'dyor alaar^ 
/llxaia xai ^/^ dlxatu^ 
UithTtotT dityi^at^ liiov, 
But q.t()Ofn%'(av airiaui^ mx{for qgirtUp 
^tiyo^ xnarovni^. 8ir/ovoi If i»q' iiftdro)p 
MuTuuHai dhannxdr rr/ruVi 
K(tv(iuiois nnOtnn /raj^rovfitptf. 

• Vulg. 3uiJ.yf\ uTf^. 



320 CHORAL COMPOSITION. 

II. Dactylic-anapaestic Choral Songs. 

(a) Strophes of a dactylic principal rhythm. 

(a) Rational Dactyls. 

Aesch. Prom. 887—893 ; 894—900 (Dorian mood). 



(srQ. H 60(fog rj aocphg, og 

UQOJtog iv yvc^ixa rob' i^dazaas iioi ylcoaaa diei^vd^o- 

X6y7]a8Vy 
'^Sig TO xr^devaat yiad^ iavtbv aqiarevei (xaxQ(p 
Kcci iirixe rcSv TiXovrco dtad^QVTizofxevcav 
Mrire rwv yivva fX€yaXvvo(j.8V(x)v 
'^Ovta )[eQri^rav sQaarevaai ydfjicov. 

art, MfJTTOTS ^tinors [x, co 

- ^ - Molqai lexscjv /Jtog evvdrsiQav tdoiad^s niXov- 

Mr^ds 7iXad^eir]V yaiiita rm tmv i^ ovQavov. 
TaQ^cj ydq doTEQydroQa naqd^eviav 
EigoQMG lovg [xsya da7TTO(A.8vav 
/IvcTtXdvoig ""Hqag dXatsiaig novcov. 

{^) Logaoedic Dactyls. 

Soph. Elec. 1058—1069; 1070—1081. 



CHORAL COMPOSITION. 



321 



X / 



X / 



GTQ, Tl tovg avood^Ev cpQOVLjjicordtovg 
Oicovovg i(yoQc6[j.£foi tQocpag 
Kr^dofiavovg dcp' (ov ts ^Xd- 
atcoaiv dcp" (^v x ovaaiv ev- 
Qcoaty 7:dd' ovK m laag reXov[A.ev ; 
^AlX ov Tav /liog dazQaizdv 
Kal rdv ovQaviav Qsialv, 
/laqov ovK dTtovrjroi. 

(xa, Hard jxoi ^oaaov oix- 
rqdv oTia roig heqd^ ^Atqu- 
daig, d^oQevta q)SQova ovudri" 

dvr, 'On aq)lv ijd}] rd iiev ek dofxcov 

JVooeT, — rd ds Tiqog teavojv diTiXfj 
(pvXoTtig OVK at i^taov- 
rat (fikoraaicx) dial- 



322 CHORAL COMPOSITION. 

ra. TtoodoTog 81 fxova aaXevet 
'HXixTQa, Tov dei narqog 
/leilaia 6rEvd)[ov(j\ OTicog 
'A TidvdvQTog dr]d(X)v, 

Ovre Ti tov '&aveiv 7TQ0[xr^- 

d^^jg to re ixtj ^XeTteiv hoi- 

fjia didvfiav sXova ^Eqi- 

vvv, rig dv evTiatQig cods ^Xdaroi ; 

(b) Strophes of an anapaestic principal rhythm, 

Aesch. Prom. 545—552 ; 553—560. 



atQ. fPsQ OTTcog d^aqig 

Xdqig, oj epilog, sItts, ttov tig dXxd ; 

Tig icpafjieQlcov dQ7]^ig ; ovd' idsQxd-Tjg 

OXiyodQavlav dxiKW, 

looveiQOV, a to q)03tojv 

l^Xaov ^ ^ - ysvog l^neTtodiaiiivov ; 

OvTtOTS tdv /liog dqiiovlav d^vatcSv TzaQS^laai ^ovXaL 

dvr, "Eiiad^ov tdds adg 

TlQoaidova oXodg tviag, IlQ0fj.t]d'ev. 
To diaiiifldiov ds fiot fA,eXog TtQoginra 



CHORAL COMPOSITION. 323 

Too 8X81V0 xr or aiiqii Iovtqu 

Kal )Jxog aov v^svaiovv 

^lorari yd^oov, ore rav o\i07iatqiov 

''Edvoig dyaysg 'Hacovav md^cov ddfiaqra icoivoXaxtQov, 

III. Cretic Choral Songs. 
Aesch. Eum. 321—333; 334—346. 



aTQ. MdteQ d ii hivaeg, co iidzEQ, 

A^i^l, dXaoTat xai dedoQy.oGiv Tioivdv, 
Klv&\ 6 ActTovg yaQ Jrig ^ dzifAOv rid^riCiv, 
Tovd' dq)a(Qov[xevog irrooxcc, ixatQmov dynajxa xvQtor 
cpovov. 

Tode ^elog, TzaQaxoTid, naqacpoQa q)Q8PodaXfjg, 

''T^vog i^ 'Eqivvmv 

/IsGfiiog qjoevoov, dcpo^mtog, (wovd ^Qorolg. 

UPT. Tovzo yaQ Id^iog diavraia 

MoiQ inrxXajaev ifxntdcog f/siv, S^vazMV 
Tolaiv avzovQyiat ^vixTisacocjiv ixdzaioi, 
Totg o^aorsiv, oqjQ dv ydv vniJ.d^r^, ^aroov d' ovx 
dyav tXevd-eoog. 



324 CHORAL COMPOSITION. 

^EttI ds r^ ted^vfjiivco 

Tode (AsXog, TzaQaxoTza, 7taQaq)oqa (pQSvodalrjgy 

T^vog i^ 'Eqivvcov 

/ieafxiog (fQevojv, difOQ^ixrog, avova ^Qotoig, 

D o c h m i i . 

Soph. Elec. 1384—1890; 1391—1397. 



rv/ / / / 



/>/ / / / 



(JTQ, '^Ided-' OTtTJ 7rQ0VSfA.8tat 

To dv6SQi6T0v ai^a cpvaoov 'L4Qrjg, 
Bs^aaiv aQti dcofA.dro3v VTroarsyot 
MezadQOixoi xaxcSv 7ravovQy)]^dro3V 
'^u^q)VKtoi Kvveg, 
iiaz' ov ixay^Qav sr diiii^vei 

ToVllhv CpQEVMV OVEiQOV aiCOQ0VlA.6V0V, 

dvT, UaQdysrat ydq ivsQcov 

/lolionovg dgcoyog e'laco atiyag^ 

^AqY^aioTiXovra TtatQog elg sdc6Xi,a, 

NeoKovfjiov alfia )[EiQotv 8)^cov * 

'O Maiag ds nalg 

'EQfjiTJg acp' dysi doXov oKorm 

Kqixpag TtQog avxo teQixa, xovh gV dfiixevet. 



CHORAL COMPOSITION. 325^ 

IV. Choriambic-ionic Choral Songs, 
(a) Strophes of a chorianthic princijjal rhythm.. 

Soph. Ant. 944—954; 955—985. 



X / 



(jiQ. ''Erla '/.al Zlavdag ovQaviov (^(Sg 
'AXldiai dtfAag iv yalxodsioig 

AvLaTg • y.QVTTTOiitva d' iv tvi^^Iiqei {^aJ.dixqjy.are^ev^^d^rj' 
Kaizoi y.al ytvea ziixiog, co Tiat ticu, 
Kid Ziivog TaiuevEGxe yovag 'iQVGOQvtovg. 
'^VJ a [xoiQidia Tig dvvaaig dsivd' 

Our dv nv on'^Qog ovz '^^qrjg, 

Ov nvoyog, ovy aluzzvjroi xtlaivai 
A (leg iy.qjvyoitv. 

dvz. Ztvy&rj d' otvyoXoig nalg o /l^vavzog, 
'Hdojvav ^aailevg, yeozofAioig 

'Ooyalg, ix /liovvaov TrezQOjdec yazdcpQaxTog tv deaiic^, 
Ovzco rag ixavlag dtivov d/roGT-d^ei 
'^v&rjoov ra fjJpog. ysipog iTztyvco [laviaig 
Wavcov Tov {^Fov iv yeozo^ioig yXcoooaig. 
28 



326 CHORAL COMPOSITION* 

Uavscyyis fxsv yaQ ivd^tovg 
rvvatxag eviov rs tivq, cpilavlovg x 
"Hqid^iQ^ Movaag. 

Gly conies . 
Original form. 

Soph. Oed. R, 1186—1195; 1196—1203, 



X / 



X / 



X- . 



X / 



X / 



X- / 



Sig v^iag iaa y.ai to fj.rjSev l^coaag ivaQi/&ixS. 

Tig yaQ, rig dvrjQ nXiov 

Tag avdaifxoviag q)EQ8i 

'H roaovrov oaov dozsTv 

Kai 86'^avr aTioyclivai; 

To aov roi TiaQadeiyii e^cov, 

Tbv aov daifxova, rov oov, (6 



CHORAL COMPOSITION. 327 

T)^aiiov OidiTToda, ^qot^v 
Ovdsva fiaxaQi^co, 

Toievoag ixQarrjae rov navr evdatiAOVog oX^ov, 
i2 Zev, y.ara fxh cp&iaag 

XQq^iJiCodov • d^avdrcov d' ifxa 
Xc^Qoc TTVQyog dvsara • 
'£§ oi) y.at ra ixsyiar in- 
fxdd^rigy ralg fieydXaiatv iv 
Qri^aiaiv dvdaacov, 

Polyschematist forms. 

Eur. Iph. Aul. 543—557; 558—572. 



x« / 



X / 



X / 



— ^ X- / 



X'> X- ^ 



X X- / 



X^ X f 



X^ X- / 



X^ X / 



328 CHORAL COMPOSITIOxV. 



-X- 



CTQ. MdaaQEg ol, [xetQiag d^eov 
Merd re acocfQoavvag iJCEti- 
Cfov XsxTQOJT 'AcpQodirag, 

rakaveia '/^QXiadiJievoi 

Maivofisvcov OiatQcov, od^i 8ri 

/Jidvfi *^EQ(og 6 )[QV6ox6(Aag 

T6^' ivteiverai ^(^qlzcov 

To iiEv m mamvi TtoTfxop, 

To 5' iTTi avy)[vaei ^lotag. 

""Anevmcx) viv d[i8T8Q03ry 

KvTtQi xaXXiara, d^akdiiMv, 

EiTj ds (Aot [x6TQia luv xaQig, Ttod'oi 5' oaioi, 

Kai ixets)^ot{xt rag 'AopQo^ttag, Tiolldv 5' dnod^eiiiav, 

dvT. /lidcpoQoi ds q)vasig ^Qotcov, 

/ItdtQOTtoi ds rQOTTOig, 6 8' 6q- 
S^og iad^Xov aaqjsg aisL 

TQOQpal x>' at TzmdevofASvaf, 

Maya cpsQovaiv elg aQStdv, 

To T8 yaQ aideta^ai 6oq)ia, 

Tdv x i^aXXdaaovaav s)[st 

XdQLv V7T0 yvM^ag iaoQav 

To deov, hd^a do^a cpsqei 

KXsog dyi^Qarov ^lora. 

Msya Ti '&7]QSvtiv aQsrav, 

Fwai^lv iisv Tiara Kvttqiv xQVTTrdv, iv dvdQdat 5' av 

Ko^iiog ivojv 6 ixvQioTtXTjd^rig [xeit^co noXiv av^ei. 



CHORAL COMPOSITION. 



329 



(b) Strophes of an Ionic principal rhythm. 
Eur. Bacch. 519—537; 538—555: 556—575. 



— / / — / / 



1 
Str. -w---v__ I 

/ / / j 
/ / / / 

/ / 



/ / / / 






/ / / / 



/ / / / 



/ / / / 



28* 



330 



CHORAL COMPOSITION. 



Epod. 



/ / / / 



/ / / / 



/ / / / 



/ / / / 



/ / / 



/ / / / 



/ / / 



/ / / / 



/ / / / 



/ / / / 



/ / / / 



/ / / / 



/ / / / 



/ / / / 



/ / / 



/ / / / 



/ / ' ' I 



CHORAL COMPOSITION. 331 



X 



X X 



X / 



IIorvL, svTtaQd^evE /liQxa, 
^v yaQ iv aaig Ttors TtayaTg 
To Jiog ^Qscpog ila^eg, 

Ore iJi^Qco TTVQog i^ a- 
S'avdzov Zevg 6 tsxmv rjQ' 
Ttaai viv, tad' d^^odaag • 

'^d'l, /dld^VQaiA^', tfJidVy CCQ- 

aeva rdvds ^dd^i vr^dvv * 

Avacpaivco oe r6d\ co Bay.- 
Xie, Qri^aig 6vo[Ad(^6iv, 

2Jv dt II oi fj,dy.aiQa /ItQxa, 
2Jreq)avf]q)6Qovg dncod^et 
Qidaovg 8)[ovoav iv 6oL 

Ti II dvaivu, ri lie cpevyeig ; 
'^EtL vat zdv ^OTQVCodf] 
/I10VV6OV xdqiv olvag 
'^Eri 601 rov Bqoiilov [xsXi^aet 

dvr, (yiav olav oQydv 

Jivacpaivu yd^oviov 



332 CHORAL COMPOSITION. 

rivog ixq)vg re dQcixovtog 
note Tlevx^evgy ov 'E'^ioav 
""Ecpyrevae ^^x^onogy 

AyQicoTiov ztQag, ov qpca- 
Ta ^QorsTov, cponov 8' c^g- 
re ylyavt avrmakov d^eoTg, 

""Og ifi iv ^Qoxom rav rov 
Bqoiiiov ta^^a ^vvd\p€i, 

Tov ifiov d' ivtog s^ei dco- 
liarog ^di] d^iaacorav 

^'Aoriaig xqvtttov iv eiQuraTg, 
'EaoQcjg rdd\ co Jiog ttuT 
/liovvae, aovg 7iQoq)i^rag 

'Er diiiklaiciv dvdyxag ; 
Alois )[Qvad37ra rivdaacov 
jLvd d^VQGov xaz '^OXvfXTiov. 
0oviov d' dvdQog v^qiv xatda^eg. 

iTtcpd. Tlod^i A^vaag aQa rag d^Tj- 
QorQOifov d^vQaogjOQEig 

Qidaovg, co Jiovva, rj 
KoqvcpaTg KojQvyJaig ; 

Td'^a S' Bv roTg TtolvdtvdQea- 
CIV 'OXvfjiTTov '&aXd[xoig, iv- 
d^a nor 'OQCfevg xid-aQi^cov 

^vvayev dsvdQsa Movaaig, 
^vvayev d^^JQag dyQ(6rag. 
[jid'AaQ CO UieQia, 

Zi^Erai 6 Eviog, ri^ei 
Te ioQEV(j(x)v diia ^ax)^sv- 
[laai, rov r oixv^oav 



CHORAL COMPOSITIOiV. 333 

ooiitvag fiaivddag (iiei, 

Avdiav re zov avdaifioviag 
BQOTolg 61^ odor av, 

na78QCC TEy 70V SxXvOV 

EviTTTTov x^Qav vdaaip 
KakXiGTOiai XiTiaiveiv. 

The [AOfqjdiai or ra cItto 6X7]vl]g occur most frequently in 
the later tragedy. They are generally antistrophic, as Aesch. 
Prom. 574—588; 593—608. Eur. Orest. 960—970; 971 
—981; 982— 1010. 

The xoi^ixoL and xo[AfAarrA(z are likewise sometimes anti- 
strophic, sometimes not. The antistrophic commatic songs 
usually correspond with much art, and the single verses 
are equally divided between the persons and chorus. As an 
example take Aesch. Agam. 1072 sqq. 



I. 


Cassandra, ar^. a. 


A. 


Chorus. 2 trim. iamb. 


I. 


Cassandra, dvt, a. 


A. 


Chorus. 2. trim. iamb. 


II. 


Cassandra. (jtQ. ^\ 


B. 


Chorus. 2 trim. iamb. 


11. 


Cassandra, dvr. ^\ 


B. 


Chorus. 2 trim, iamk 


III. 


Cassandra. (Jtq. /. 


C. 


Chorus. 2 trim, iamk 


III. 


Cassandra. dvT. y , 


C. 


Chorus. 2 trim. iamb. 


IV. 


Cassandra, axq. d\ 


D. 


Chorus. 2 trim. iamb. 


IV. 


Cassandra, dvr. d\ 


D. 


Chorus. 2 trim. iamb. 


V. 


Cassandra. arQ, 8, 


E. 


Chorus. 2 trim. iamb. 




F. fxsGoarQ. a. 


V. 


Cassandra, dvr. s. 


E. 


Chorus. 2 trim. iamb. 




F. [xeaavr. a. 


VI. 


Cassandra. arQ. g. 




G. Chorus. [xeaoazQ. ^\ 



334 



CHORAL COMPOSITION. 



VI. Cassandra, dvt. g\ 

G. Chorus, lisaavz, ^'. 

VII. Cassandra, ctq. f'. 

H. Chorus. [ieaoatQ, y, 
VIL Cassandra, dvr. f\ 

H. Chorus, ixeaavr. /. 

As an example of a commatic song between the persons of 
the play without the chorus take Eur. Androm. 502 — 544. 



I. Andromache. -w-.vo_v._ 



_^_^^ y OTQ. a 



x~ / 



A. Molossus. _v._wv._^_ 


> (JTQ. /?'. 




-^^-----. 




X- / 

IL Andromache. --_s,.,_w« 






X / 






1 
B. Molossus. -^- 


> OTQ. /. 




X^ / 






X- / 

III. Andromache. -------- 






X / 






X^ / 


► atQ. d\ 




X / 

C. Molossus. -v._v>_ 






X / 












3{. Menelaus. Anapaests. 
I. Andromache. 
A. Molossus. 


atQ, 
avt. 
dvr. 


8 . 

a 



CHORAL COMPOSITION. 335 

11. : Andromache. ) , / 

B. Molossus. ] ^^^-^^ 
III. Andromache. ) , ^r 

C. Molossus. / «;^- ^; 
% Menelaus. Anapaests. dvr. «'. 

As an example of a still more elaborate correspondence 
take Aesch. Choeph. 306 — 478. 

I. Chorus. Anapaest. 

A. Orestes, gtq. a\ 
II. Chorus. GtQ. ^\ 
% EJectra. dvz. a. 

III. Chorus. Anapaest. 

B. Orestes. azQ. /. 
II. Chorus. dvT. p. 
S3. Electra. dvz. y, 

IV. Chorus. Anapaest. 

(§ Elecira. ctq. 8\ 
V. Chorus. (JTQ. s. 

C. Orestes, dvr, d\ 

VI. Chorus. Anapaest. 

2). Electra. arg. g\ 
V. Chorus, dvr. t. 

D. Orestes, dvr. g . 
VII. Chorus.* (77^. r. 

E. Orestes. arQ. t] . 
(J. Electra. dvr. ri . 

VII. Chorus, dvr. t,\ 

F. Orestes. \ 

^. Electra. \ arQ. ^\ 
VIII. Chorus, j 

F. Orestes. \ 

^. Electra. > dvr. x^\ 

VIII. Chorus, j 

IX. Chorus. GTQ. I, 

IX. Chorus, dvr. i . 

X. Chorus. Anapaest. 

* According to Lachmann (de chor. syst. p. 112), Electra has 
commonly the gto. l and avx, X!'. 



336 CHORAL COMPOSITION. 

The whole system of the strophes is, therefore, the fol- 
lowing : 

an a p. a! ^' a a nap. / ^' y anap. 5' e d' anap. g' e g' ^' 
V V f ' '^^ '^' ^ ^ anap. 

The parabasis was a peculiarity of the ancient comedy. 
It was an insertion in the play which interrupted the atten- 
tion and in which the poet spoke through the chorus to the 
spectators. The parabasis was not a necessary part of com- 
edy; it might, therefore, be altogether wanting, as is the 
case in the Ecclesiazousae, Lysistrata, and Plutus of Aristo- 
phanes. On the other hand, a comedy might have more than 
one parabasis. A complete parabasis consisted of the fol- 
lowing parts : 

(1) of the xoi^fidnoVy which comprised a few verses only, 
which sometimes were of the same kind as those of the fol- 
lowing part ; 

(2) of the TtaQCi^aaig, in its stricter signification. It consists 
always of verses by the line, most frequently of anapaestic 
tetrameters, but never of iambic trimeters; 

(3) of the ixaxQov or mnyog, usually a short anapaestic 
system which was recited quickly ; 

(4) of the strophe, aiQocpt] or wd/], of melic composition ; 

(5) of the imooijiia, consisting of several verses repeated 
by the line, usually of trochaic tetrameters ; 

(6) of the dvilazQOCfog or dvicpd/i, corresponding to the 
oroocprj or opbq ; 

(7) of the (Ivrenioop^iia, corresponding to the tnloQmia. 
Except the aTQOCfrj and dvzlarQOcpog, which were sung by 

the chorus, the leader of the chorus recited the other parts 
of the parabasis. 

Examples of parabases are : 
Arist. Nub. 510—626. 

I. Komm Tfov 5 1 — 5 J 7. 

II. TiaQu^ufyig 517 — 562 (metr. Eupolideum). 

III. [xay.Qov wanting. 

IV. oTQocpii 563 — 574. 

V. iiTiomiiia 575 — 594 (tetraraetr. troch. cat.) 

VI. dprfarQacpog 595 — 606. 

VII. dvrtTTioQfiiici 6D7 — 626. 

Nub. 1115 — 1131). II. TiaQu^aaig (tetrametr. troch. cat.) 
Equit. 498—610. 

1. xofifAanov 498 — 506. (2 syst. anap.) 



CHORAL COMPOSITION. 337 



II. TtaQCi^cKJig 597 — 546 (vers. Aristoph.) 

III. fxaxQov 547 — 550. (system, anap.) 

IV. azQoq)/] 551 — 564. 

V. mloQmia 565 — 580 (tetram. troch. cat.) 

VI. dvTiaiQocpog 581 — 594. 

VII. dvTSTtiOQrjiJia 595 — 610. 
Equit. 1263—1315. 

IV. (yrgocpi] 1263—1264. 

V. irnQQijixa 1265 — 1289 (tetram. troch. cat.) 

VI. dvrlarqo(pog 1290—1291. 

VII. dvrtmQoriiia 1292 — 1315. 
Av. 676—800. ' 

I. KOfAfxdriov 676 — 684. 

II. TtaQa^aatg 685 — 722 (vers. Aristoph.), 

III. fiaxQov 723 — 736 (syst. anap.) 

IV. GtQocpri 737 — 752. 

V. i7rioQj]fxa 753 — 768. (tetram. troch. cat.); 

VI. dvziatQocpog 769 — 784. 

VII. dvTS7tiQQt]fjia 785 — 800. 
Vesp. 1009—1121. 

I. >iO(xixdriov 1009 — 1014. 

II. TtaQd^aaig 1015 — 1050 (vers. Arist.) 

III. fxaHQov 1051 — 1059 (syst. anap.) 

IV. azQoq)^ 1060—1070. 

V. mioQriiia 1071 — 1091 (tetr. troch. cat.) 

VI. dvxlorqocpog 1092—1100. 

VII. dvTETTidQrjfia 1101 — 1121. 
Acharn. 626—718. 

I. y.ouudziov 626 — 627 \ a • ^ i 

II. JaQd^aa,g 628-658 } vers. Anstoph. 

III. i^axQov 659 — 664 (system, anap.) 

IV. crQOcpri 665 — 675. 

V. iTtioorjiia 676 — 691 (tetram. troch. cat.) 

VI. dvziGTQocpog 692 — 702. 

VII. dvtETiLOQijiJLa 703 — 718. 
Ran. 675—737. 

IV. ozQocpr^ 675 — 685. 

V. iTTiQorifxa 686 — 705 (tetram. troch* cat.), 

VI. dvziazQoqmg 706 — 716. 

VII. dvz£77iQQt][jia 717 — 737. 
ac. 729—818. 

I. y^oiiiidziov 729 — 733 \^j ^ . 

II. naQd^aaig 734—764/ ^^^^- ^^^^^• 
29 



VII 
Pac 



338 CHORAL COMPOSITION. 

III. i^axQov 765 — 774 (syst. anap.) 

IV. GrQoq)^775—796. 
VII. dvziarQoq)og 797 — 818. 

Pac. 1127—1190. 

lY.atQocfTi 1127—1139. 

V. iTTiQQiji^a 1140 — 1158 (16 tetr. tr. cat.; syst. troch.) 

VI. dvziarQoq)og 11^9 — 1171. 

VII. dvTETzioQriiAa 1172 — 1190. 
Thesmoph. 785—845. 

II. TtaQa^aaig 785—813 (Vers. Aristoph.) 

III. fiaTiQov 814 — 829 (syst. anap.) 
V. imQQrjiAa 830— 845, 

With the Roman comic writers, the prologue supplied the 
place of the parabasis. Yet Plautus has twice, Curcul. IV. 
1. Cistell. I. 3, a kind of parabasis, since in the former the 
choragus addresses the spectators in catalectic trochaic te- 
trameters, in the latter Auxilium does the same in senarii. 

The exact correspondence which we find in the melic parts 
of the drama sometimes is transferred also to the dialogue. 
The individual persons often speak in single verses, as Soph. 
Elec. 384—414 ; or in half verses, as Soph. Oed. R. 625— 
629. Eur. Orest. 774 — 798 ; or in pairs of verses, as Soph. 
Oed. R. 108—131 ; or in such a manner, that the first per- 
son speaks in one, the second in two verses : Aesch. Prom. 
39—81. Soph. Oed. R. 99-107. 

B. Free Choral Songs. 

The free choral songs (Gvarijfiara aTrolelvfxtva) consist of 
changing rhythms, which never return in the same order of 
sequence. This kind of composition was peculiar to the 
later dithyramb of Philoxenus, Timotheus and Telestes, 
and was also employed in the drama, particularly in the 
commatic songs; for stasima are never composed in this 
way, To the variety of the rhythms, the variety of the moods 
also corresponded, so that in the same song the Dorian, 
Phrygian and Lydian might alternate. 

Among the dnole'kviihvct the grammarians have erro- 
neously classed the aarQO^pa, so called, single exclamations 
and sentences, which, bound to no definite rhythm, some- 
times preceded or followed or interrupted the speeches or 
songs. To these belonged the ImcpcovrnAara, as cpev, Ico, al, 
oi'(JOi, etc. ; the iq)vixna and iiEcjv^viay as IriiE Ilaidv, co di- 
'O^vQafi^Sy and in Sappho : 



CHORAL COMPOSITION. 339 

Txpoi dt] TO [AsXad^Qov ['Tixt'jvaov], deiQara TSHtovEg civdQeg 

['Tfxrjvaov], 
Faii^Qog tQiEtai hog '^Aoiji, 

Lastly the i7Ttcpx)^eyiiarcy.df which often embraced whole sen- 
tences, as in Bacchylides : 

H y.aXog Oeoyoirog, ov fiovvog dv&QcoTzcov eQag, 

2^v d' iv ^trcovi fAOvq) TzaQcc tijv q)iX7jv yvvcuxa cpevyeig. 

The genuine free songs, which form an independent whole, 
are either of such a sort that they form a whole of one or 
more strophes {iiovootQOcpa : A ; srsQoatQoqja : AB ; dXXoi- 
6arQoq)a or nolvatQOCfa: ABCD . . .), or that the song is of 
itself an existing indivisible whole, which transcends the or- 
dinary measure of a strophe {dtfirjTa). The strophes of 
which a avaxruia dnolelviitvov is composed, are sometimes 
more, sometimes less like each other in rhythmical charac- 
ter {7TaQO[xoi6{JTQoq)a, dvo[ioi6atQoq)a). The resemblance 
occurs most frequently at the beginning or end of the 
strophes. 

As examples of this kind of composition, the following 
passages may serve : 

Telest. Fragm. Dithyr. Argo in Ath. XIV. p. 617 F. 
626 C. 

""Ov aocpov aoq)dv Xa^ovaav ovk Imlnoiiai vocp 
/iQviioig OQUOig oQyavov 
/llav Ji&rivav 

/Ivaocpd^cikiiov alaxog iKq)o^i]d'€t<iay 
Avd^ig VA XEQ(av ^aXeiv 
A^v[xq)ayEveL ieiqo'atvtico 
fDr^Qi MaQova xXsog. 
Ti yaQ nv ev?]Qdroio ndXXeog 
^O^vg tQoog szeiQev ; 

L4 yd^j TTaQ&eviav dyafiov >iai aTiai^^ dnivuiie 
KXcod^oj ; 

Eur. Here. fur. 1017—1041. 

'0 (povog 7]v ov "AqyoXlg iy^u TidrQa 
Tors ^lev TteQiaaiioTarog Tioi aQtatog 
'EXXddi rcov0avaov naldcov • 



340 CHORAL COMPOSITION. 

Ta d' vTTSQf-'^aXs, TtaQsdQaixs ra rots y.axd, 
Takavi dioysvsi xoQq) fxovotsxvov IlQoxvrig 
fDovov 8)[03 It^ai d^voiievov iiovaaig ' 
^v 88 tsxva TQtyova temfitvog, c6 dais, 
ylvoaddi avyxareiQyadco iiolqa. 

'Eg TLva (srevayixov 

'Hyoov ^ q)d'ir(av wddv ^ rov '^ida x^QOV d)[rj(jco ; 
<p8v q)8v • i'dead^s, didvdi]^a ycXrid^Qa 
KliV8zai vxpiTtvXcov 36fi.cov, 
^Sifioi ' idsai}8 rd tsxva tzqo Tzargog 
Jdd^Xia 'Abliisva dvardvov, 

EvdovTog V7TV0V dsivov ixTTodoov q)6vov, 
UsqI ds deafid xal ttoXv^qox dixfidzcov 
'EQSicyfxad'' 'HQdxXsiov dfjicpi difjiag rdds Xatvoig 
u^vrjiJ^fisV diKfl moaiv oikcov, 

d\ dig Tig oQvig dnteQOv Karaatevcov 
'iidiva T8XVC0V, TiQta^vg vazsQcp Tiodi, 
TIiKQav dicoKODV 7]Xv(jiv, Trdqeod^ ods. 

The first three divisions end with the ecbasis. 
Soph. Philoct. 1169—1217, 

0. TldXiv ndXiv naXaiov dXyrni vTisfivaaag, co X(^6t8 
Tcjv TTQiv ivtoTtcor, 
Ti f/ diXsaag ; ri fi eiqyaaai; 

X. Ti rovr eXe^ag ; 

(Z>. El Gv xdv 8\ioi arvyFQav 

Tqcpdda yaldv jx riXTZiaag d^eiv, 
X. Toda yaQ voco x^dtiatov, 

0. JItTO VVV jAS XsiTTST ^5?/. • 

X, 0iXa [xoi, cpiXa ravxa TtaQrjyysiXag, ixovn rs 
TTQdaaeiv, 
'Icofiav lojfjiev 
A^aog tV '^fxTv ttraxrai. 



CHORAL COMPOSITION. 341 

0, UTrj, TTQog dgaLOv Jiog, eld^rig, Ixerevca. 

(D. £i ^ivoiy fieivate, Ttqog d^eoov, 

X Tid^Qozig; 

(/>. Aiai alat, 8aL(xo3v daij^cov. 
An6).cx)X 6 raXag ' 
£2 TTovg Tzovg, ri 6 er iv ^icp 
Tev^co ZQ) fjiSTOTttv rdXag ; 
ii ^ivoiy sld^eT iTZi^lvdeg av&ig. 

X. Tl QS^ovtsg dXko'Aorqp 

rvc6[xa TMV Ttaqog, cov TtQovcpaiveg ; 

0. OvTOL v8[A,e(yTjr6v, dXvovra )[8i[xsQicp 
Avnci xai Tzaoa vovv d^QOf-iv. 

X, Bdd^i vvv, 03 rakav, cog as xeXevof^ev, 

0. OvdsTTor ovdsTtOT, lad^i rod' sfiTTsdov, 
Ovd' si TivQcpoQog dateQOTtr^t^g 
BQovtdg avyaig [x dai cpXoyt^cov, 
LoQStco 1/dov, 01 xr vtz exeivco 
TIdvreg oaoi rod' hXaaav ijAOv jioSog 
JIqO^qov aTTOJcai. 
^XX\ CO ^Evoif ev ys fxot ev^og oQs^ats, 

X, Uoiov BQug rod' mog ; 

0. Aicpog, ei TTod^ev, 

'^H ysvvv, i] ^eXicov rt, 7iQ07Z8[A\pars. 

X. 'i^g riva qitrig TzaXafjiav nori ; 

(p. Kqdr dno ndvra xai aqd^qa refxco j^eqL 

00V a (pova voog i]d7j. 
X, Tl nor 8 ; 

0. Tlariqa fxarsvcov 

X, Ilol ydg ; 
0. 'Eg Aidov 

29* 



342 CH0R4L COMPOSITION. 

. Uv yaQ tar sv (pau y etif 
a TioXig CO TtoXig natQiay 
n^g av elaidotfit a ad^Xtog y dvrjQ, 
'Og ys aav Xm&iv hqav Xi^dd' ix^Qoig 
'^E^av /lavaoTg UQcoyog * ix ovdsv eiiii. 

The choruses of the Roman tragic poet Seneca are for 
the most part the avarrnAaja iietQind draxtay so called, that 
is, composed of well known and ordinary verses and half 
verses, which, however, do not correspond to each other 
antistrophically. 



INDEX 



[The figures refer to the number of the page.] 



Acalalectic series, 26. 
Adaptation of rhythm and metre 

to words, 21. 
Adonius, versus, 83, 90, 132. 
Aeolian mood, 46, 59, 73. 
AeoHan poetry, 45. 
Aeolian style, 289. 
Aeolian strophes, 35, 46. 
Aeolian verses, 89. 
Aeschylus, 48. 
Afranius, C., 55. 
u4yojyij, 20. 
Alcaeus, 45. 
Alcaic strophe, 280; used among 

the Romans, 280. 
Alcaicus decasyllabus, 95. 
Alcaicum dodecasyllabum, 91. 
Alcaicus hendecasyllabus, 9^. 
Alcmaicum dodecasyllabum, 93. 
Alcmanium, genus, 120. 
Alcmanium, metrum, 102. 
Alcmanius, versus^ 116. 
Alexander, 49. 
Alexandria, 49. 
Alexis, 49, 53. 
Alliteration, 23. 
Amoebaean poetry, 53. 
Amphibrachys, Amphibrach, 10. 
Amphimacer, 10. 
'^mxkacfig^ 37. 
Anacreon, 45. 
Anacreontean verse, 150. 
Anacreontic songs, 45. 
Anacreontic poems, 218; rhythm 

of, 180. 
Anacreontics, in Seneca^ 180. 
Anacrusis, 8. 
Ananius, 159, 175. 
Anapaestus, anapaest, 10. 
Anapaestica, basis, 99. 
Anapaestic rhythms, 98. 



Anapaestic systems used by the 
dramatists, 246 ; Roman dram. 
252; Seneca, 253. 

Anapaesticus, dimeter, 100. 

Anapaestica, dipodia, 99. 

Anapaestica, hexapodia, 102. 

Anapaests, irrational, 102. 

Anapaest, light or irrational, 17. 

Anapaests, logaoedic, 19. 

x^napaesticus, monometer^ 99. 

Anapaestica, monopodia, 99. 

Anapaestica, pentapodia, 102> 

Anapaests, rational, 98. 

Anapaesticus, tetrameter, 101. 

Anapaestica, tetrapodia, 101. 

Anapaesticus, trimeter, 100. 

Anapaestica, tripodia, 101. 

Anapaest, trochoid ic, 17. 

Annomination, 23. 

^^VTSTti^^Tjfia, 336. 

Antiphanes, 49. 

Antibacchius, 10. 

Antispastus, antispast, 10., ^9. 

Antistrophe, 35. 

' ^VTlGTQ0(p7J J 35. 

Antistrophic composition in Do- 
rian lyric and tragic poetry, 288. 

Antistrophic choral songs, 288. 

^u4vT(iiS^^ 336. 

ApeFs metric, 4. 

Apollonius c* elSoy^dcpog, 2. 

Apollonius of Rhodes, 50. 

Aratus, 50. 

Archebuleus, versus, 97, 107. 

Archilochus, 44. 

Arion, 46. 

Aristoxenus, Elements of Harmo- 
ny and Rhythm, 2. [2. 

Aristides Quintilianus de musica, 

Aristophanes of Byzantium, 2. 

Aristophanes, 48. 



344 



INDEX. 



Aristophanic verse, 203. 
Arrhylhmy, 8. 
Arsis, 7, 8. 

Arvalian fraternity, 160. 
Asclepiadean verse, 141. 
Asclepiadeum majus, 143. 
Assonance, 23. 
Asynarteti, versus, 33. 
Asynartete verses, 33, 34, 153. 
Atilius Fortunatianus, 3. 
Atellan fables, 54 ; poets, 178. 
Attias, L., 55, 246. 
August! nus de musica, 2. 
Ausonius, D. Magnus, 58,233,277. 
Babrius, 175. 
Bacchius, 10. 
-Bacchic rhythms, 125. 

Bacchiacus, dimeter, 127. 

Bacchiacus, tetrameter, 128. 

Bacchylides, 46. 

Bacchylideum metrum, 115. 

Basis, 61. 
JBdocg^ 61. 

Beat, 8. 

Bentley, Richard, 3. 

Besseldt, K., 4. 

Bion, 52. 

Boeckh, Aug., 4. 

Boiscius, versus, or octonarius, 78. 

Boiscus of Syzicus, 176. 

BoQitjg a dissyllable, 193. 

Brachycatalectic series, 26. 

Broken verses, 31. 

Brunck, Rich., 3. 

Bucolic poetry, 51. 

Burney, C, 4. 

Caesura, 38. 

Caesura xard tqltop TQoyalov^ 185. 

Callimachus, 50. 

Callinus, 44. 

Castorion, 166. 

Catalectic in disyllabum, 26. 

Catalectic in syllabam, 26. 

Catalectic in trisyllabum, 27. 

Catalectic series, 26. 

Catullus, C. Valerius, 56, 175, 
176, 276. 

Xaofj^oj^ia^ 30. 

Choliamb, 45. 
Choerileum, metrum, 183. 
Choral composition, 35, 288. 
Choral songs, rhythms in, 314 sqq. 



XoQSioq lajLt^osiSi^S', 17. 
Xo^Hog T^oyouSi]?^ 17. 
Choriamb us, choriamb, 10, 29. 
Choriambic rhythms, 129. 
Choriambicus, dimeter, 141. 
Choriambicus, hexameter, 146. 
(^horiambicus, monometer, 131. 
Choriambicus, pentameter, 145. 
Choriambicum polyschematistum, 

143. 
Choriambicus, tetrameter, 145. 
Choriambicus, trimeter, 143. 
Choruses in Seneca, 342. 
Claudius Claudianus, 58. 
Clausula, 25. 
Cleanthes, 50. 
Cleaver, 4. 

Cleomachean verse, 147. 
Close or clausula, 33. 
Coluthus, 51. 
Combination of series, 28. 
Combination of series and verses 

into rhythmical masses, 33. 
Comedy, 48. 

Comic trimeter, 171, 173. 
Composition y.ard OTlyov, by the 

line, 33. 
Composition aard TQiGTiXOV-, 238. 
Comatic songs, correspondence of, 

333 ) examples of, 333 sqq. 
Contraction of shorts, 21. 
Corinna, 134. [338, 

Correspondence in the dialogue, 
Cratinus, 49. 
Cretic rhythms, 108. 
Creticus, dimeter. 111. 
Creticus, hexameter, 115. 
Creticus, monometer, 109. 
Creticus, pentameter, 115. 
Creticus, tetrameter, 1 14. 
Creticus, trimeter, 113. 
Cybele, songs of, 149. 
Cyclic anapaests, 19, 102. 
Dactylus, dactyl, 10. 
Dactylic rhythms, 80. 
Dactylic systems, used by lyric, 

tragic and comic poets, 244. 
Dactylicus, dimeter, 83. 
Dactylicus, hexameter, 87. 
Dactyl, iamboidic, 17. 
Dactyls, irrational, 88. 
Dactyl, light or irrational, 17. 



INDEX. 



345 



Dactyls, logaoedic, 19, 90. 
Dact37licus, monometer, 83. 
Dactylicus, pentaineter, 86, 
Dactyls, rational, 81. 
Dactylicus, tetrameter, 86. 
Dactylicus, trimeter, 84. 
Decapodla Alcaica, 267. 
Definition of rhythm, 7. 
Demetrius Triolinius, 3. 
Diaeresis, 38. 
JiaiQSoig, 39. 
Ji'/Qovoi^ 9. 
Digamma, 31. 
Diiambus, diiamb, 10. 
Dimeter, 16. 
Dioraedes, 3. 
Dion3^siaC festivals, 47. 
Dionysiac poemis, 149. 
Dionysius of Harlicarnassus, de 

compositione verborum, 2. 
Dionysius of Athens, surnamed 

the Brazen, 233. 
Dionysius Periegetes, 51. 
Diphilus, 53. 
Dipody, 16. 
jLTioSia, 15. 

jL07]flOL^ 9. 

Dispondeus, dispondee, 11. 

Distich, 270. 

Distich composition, 34. 

Distichum elegiacum, 34. 

Dithyrambs, 36. 

Dithyrambic poetry, 46. 

Ditrochaeus, ditrochee, 10. 

Diverbium, 33. 

Dochmiac systems in the Greek 

dramatists, 255. 
Dochmius, 11, 110, 117. 
Doering, L. 1., 4. 
Dorian poetry, 46. 
Doric mood, 46, 5_9, 73, 289. 
Doric strophes, 35. 
Double kind of rhythm, 12. 
Draco, on metres, 2. 
Drama, 47, 
Ductus, 20. 
Ecbasis, 63. 
^'E-A^aotg, 63. 
Ecclesiazousae, 336. 
Elegiac pentameter, 85. 
Elegiac poetry, 44. 
Elias Chorax, 3. 



"Efi^axriQLa, 98, 200. 

Encomiologicum, metrum, 182. 

Ennius, Q., 54. 

^Ecfv^vca^ 338. 

Epic- didactic poems, 43. 

Epicharmus, 5J, 201. 

Epinicia of Pmdar, rhythms in, 
300 sqq. 

Epionicum a minore, 141. 

Epionicum tetrametrum cat., 91. 

^ ETTicpd'&y/LcaTind^ 126, 338. 

*E7ii^(jr]fia^ 336. 

Epitrite kind of rhythm, 15. 

Epitritus, Epitrite, 10. 

Epodic composition, 222. 

Epos, 43. 

''Enog udiohaov, 89, 198. 

Epode, 35. 

^Enojdog sc. GTQoq)tj, 35. 

'ETTtdyQOVOt,^ 10. 

^EnTdoTjfioi^ 10. 

Equal kind of rhythm, 12. 

Erotic poems, 149. 

"Hd-oloyoL, 147. 

Eupolidean verse, 139. 

Eupohs, 49, 175. 

Eurhythmy, 1, 8. 

Euripides, 48. 

'^E^doTj/Lioi, 10. 

'E^d'/Qovot^ 10. 

Fabula palliata, 55. 

Fabula togata, 55. 

Falling rhythm, 8. 

Feminine caesura, 40. 

Feminine close, 27. 

Fescennine songs, 53. 

Figure, 1. 

Flaccus, C. Valerius, 58. 

Flavins Mallius Theodorus, 3. 

Flower song in Athen., 177. 

Foot-caesura, 39. 

Foot-diaeresis, 39. 

Freer anapaestic systems, 250. 
Free choral composition, exam- 
ples of, 339 sqq. 
Free choral songs, 228. 
Free songs forming an indepen- 
dent vt^hole, 339. 
Freese, C, 4. 

Friedmann, F. T., 4, 5, 231. 
Fulcrum / or t , 296. 
Gaisford, Thorn., 3. 



346 



INDEX. 



Galliambus, 220. 

Galliambic verse, 152. 

Fevog SiTtldaiov, 12. 

rivog rjiiiLohov^ 14. 

rivos inixqvTov^ 15. 

Ftvog loov, 12. 

Genus sesqaitertium, 15. 

Glyconeus hypercatalectus, 91. 

Glyconic systems in lyric and 
dramatic poets, 258 ; Seneca, 
262. 

Glyconic verse, 92. 

Gnomic poetry, 44. 

Gotthold, F. A., 4. 

Hadrian, 161. 

Heath, Benjamin, 3. 

Heliodorus, 233. 

Hemiambs, 272. 

Hephaestion, Manual, 2. 

Hermann, Gotfr., 3. 

Herodianus, 3. 

Hesiod, 43. 

Hexameter, 16. 

Hexameter /islovQog, 88. 

Hexameter nar ivoTthop^ 195 ; ko- 
youSijg or noXcTi^Kog^ 195. 

Hexametri Priapei, 195; in the 
Latin poets, 195. 

Hexapody, 16. 

Hiatus, 30. 

Hipponacteum, metrum, 91. 

Hipponactean verses, 45. 

Hipponax, 44, 175,176; histori- 
cal value of, 2. 

Homer, 43. 

Horace, Sapphic strophe in, 276 ; 
Sapphic and Adonian, 279. 

Horatius Flaccus, L., 57. 

Hypercatalectic series, 26. 

Hypolydian, 290. 

Iambus, iamb, 10. 

Iambic rhythms, 73. 

lambieus, dimeter, 75. 

lambica, dipodia, 75. 

Iambi ischiorrhogici, 124. 

lambica, hexapodia, 80. 

lambieus, monometer, 75. 

lambica, monopodia, 74. 

lambica, pentapodia, 80. 

lambieus, tetrameter, 77. 

lambica, tetrapodia, 79. 

lambieus, trimeter, 76. 



Iamb, trimeter, claudus or Hip- 
ponacteus, 77. 

lambica, tri podia, 78. 

lambographers, 45. 

Ibycus, 46. 

latus, 8. 

Indications of the verse-end, 291, 
296 sqq. 

Ionian poetry, 43. 

Ionian style, 290. 

lonicus, ionic, 10. 

lonici a majore, 146. 

Ionic dimeter, 147. 

Ionic strophes in Anacreontic po- 
ems, 286. 

Ionic systems used by lyric poets 
and tragedians, 267. 

Ionic tetrameter, 148. 

Ionic trimeter, 147. 

lonici a minore, 148. 

Ionic (a min.) dimeter, 150. 

Ionic (a min.) monometer, 149. 

Ionic (a min.) tetrameter, 152. 

Ionic (a min.) trimeter, 151. 

Irrationality, 17. 

Italicus, C. Silius, 58. 

Ithyphallicus, 69. 

Juvenalis, De Junius, 58. 

Kazdkfj^ig^ 25. 

KtvaLSoXoyoL^ 147. 

KofifiaTiKoi^ 314, 333. 

Ko^fiol^ 314, 333. 

Laberius, D., 55. 

Lachmann, K., 4. 

Lange, W., 4. 

Leonine verses, 25, 195. 

Limping verses, 45. 

Linus, 50. 

Lindemann, F., 5. 

Livius Andronicus, 54. 

Logaoedic verses, 88, 102. 

Long, 9. 

Longinus, Prolegomena, 2. 

Lucanus, L. Annaeus, 58. 

Lucian, 106. 

Lucilius, C, 55. 

Lucretius Carus, T., 56. 

Lycophron, 50. 

Lydian composition, 290. 

I^ydian mood, 46. 

Lysistrater, 336. 

Maecenas, 220. 



INDEX. 



347 



Manuel Moschopulus, 3. 
Maxtor in a parabasis, 336. 
Marching songs, 200. 
Marius Plotius, 3. 
Marius Victorinus, 3. 
Martialis, M. Valerius, 58, 176. 
Martianus Capella, 2, 233, 
Masculine caesura, 40. 
Masculine close, 27. 
Maximus Victorinus, 3. 
Meleager, 50. 
Menander, 53. 
MsGvuvia^ 338. 
MioatScg^ 35. 
Messenicus, versus, 101. 
Metre, 1, 9. [29. 

MtTQa Tiar nvTiTrdd'siav fiinTd^ 
Metrical scholiasts, 3. 
Metrical science. 1. 
Middle time, 17.' 
Mime, 52. 
Mimnermus, 44. 
Mixolydian, 270. 
Molossus, 10. 
Monometer, 16. 
Monopody, 16. 
MovojSial, 314. 
Moods of the Greeks, 289. 
Moschus, 52, 191. 
Movement, 20. 
Mueller, G. F., 4. 
Munk, £., 4. 
Musaeus, 50, 51. 
Mystagogues, 50. 
Naevius, On., 54. 
Nicander, 50. 
Norresianus, 58. 
Nonnus, 51, 191. 
Novius, Q., 55. 
Numerus, 7. 
Numerus primarius, 33. 
"0/xog, 289. 

^ OUTO'/QOVOI^ 11. 

Octonarius, versus, 68, 155. 

^ Oy.TOGTJUQl^ 11. 

Odyssey in Saturnine measure, 55. 
Olenus, 50. 
Oppianus, 51. 
Ordines acatalecti, 26. 
Ordines brachycatalecti, 26. 
Ordines catalectici, 26. 
Ordines hypercatalecti, 26. 



Orpheus, 50. 

Orthius, 12. 

Ovidius Naso, P., 56. 

Pacuvius, M., 55. 

Paeans, 36, 108. 

Paeon, 10. 

Palimbacchius, 10. 

Parabasis, parts of, examples of, 

336 sqq. 
naQay.araloyTi^ 116, 121. 
Paroemiac, 100. 
Pause, 25. 
Pauw, Corn, de, 3. 
HsvzdyQovoi, 10. 
Pentameter, 16. 
Pentameter elegiacus, 230. 
Pentapody, 16. 
JJivrdoT/fioi, 10. 
IIivd-7]/Lccju8Qi5 dactylic um, 85. 
Pergamus, 49. 
Persius Flaccus, A., 58. 
Petronius Arbiter, T., 58. 
Phaedimus, 226. 
Phaedrus, T., 58. 
Phalaecus, 198. 
Phalaecean verse, 94. 
Phemonoe, 184. 
Pherecrates, 49. 
Pherecratean verse, 84, 90, 132. 
Philemon, 52. 

Philicus of Corcyra, 146, 207. 
Philip, 49. 

Philippus of Thessalonica, 233. 
Philoxenus, 338. 
Photius, 264. 

Phrygian mood, 47, 108, 149,290. 
Pindar, 46. 
Plato, 49. 

Plautus, M. Accius, 55, 177. 
Ilviyog in a parabasis, 336. 
Political verses, 51. 
Polyschematist Pherecratean, 1 32. 
Polyschematist rhythms, 37. 
Person, Rich., 3, 202. 
Pomponius, L., 55. 
Pratinas, 80. 
Praxilleus, versus, 97. 
Priapean verse, 93, 132, 140. 
Principal caesura, 40. 
Principal diaeresis, 39. 
Priscian, 175 [tic, 10. 

Proceleusmaticus, Proceleusma- 



348 



INDEX. 



Proceleusmaticam tetramelrom 
Aristophaneum, 100. [338. 

Prologue in the Roman writers, 

Proode, 35. 

II()oojSdg^ 35. 

Propertius, Sext. Aurel'ms, 57. 

Prosodiacum, metrum, 182. 

Psellos, Michael, 51. 

Pyrrhichius, Pyrrhich, 9. 

Quadratus, versus, 78. 

Qaintus Smyrnaeus, 51. 

Refraction, 37. 

Reitz, Fr. Wolfg, 3. 

Resolution of longs, 20. 

Rhyme, 23. 

Rhythm, 1. 

Rhythm of Choral song, 289. [299. 

Rhythms of Dorian lyric poets, 

Rhythms of single verses, how 
determined, 298. 

^Pvd'/iiol dxardlt^zTot,, 26. 

'^Pvd'/tiol ^QaxvKavdXyTiTOL, 26. 

''Pv&fidg tnaQyog^ 33. 

'Pvd'/U'Ol xaTal/]ZTtyiol, 26. 

'Pu&UOl TtoXvGyrjfjbdTLGTOL^ 37. 
'Pvd'f^ol V7T£QKaTdl7]XT0t^ 26. 

Rinthon, 50. 
Rising rhythm, 8. 
Rome, 49. 

Roman comic trimeter, 175. 
Roman tragic trimeter, 174. 
Sacred songs of the Romans, 53. 
Sapphicum enneasyllabum, 91. 
Sapphic um majus, 142. 
Sapphic verse, 91. 
Sappho, 45 ; odes of, 275. 
Satirical poems, 44. 
Satura, 53. 

Saturnine verse, 53, 70. 
Satarnius, versus, 159. 
Satyrdrama, 47, 171. 
Scazon, 45. 

Scipios, epitaphs of the, 161. 
Seidler, A., 4. 

Seneca, L. Annaeus, 58; trime- 
ters in, 175. 
Senarius, 173. 

Septenarius, versus, 68, 78. [156. 
Septenarius, versus, or quadratus, 
Serranus, Calpurnius, 58. 
Samonicus, L. Serenus, 58. 
Series, 25. 



Servius Maurus Honoratus, 3. 

Short, 9. 

Simmias, 146, 200, 205. 

Siraonides, 46. 

Simonides of Amorgos, 44. 

Simonides of Ceos, 44. 

Simonideum metrum, 102. 

Simple rhythms, 59. 

Single verses in strophes, 291. 

Sinking rhythms, 8. 

Solon, 44. 

Songs of the dramatists, 314. 

Sophocles, 48. 

Sophron, 52. 

Sositheus, 50. 

Sotades, 214. 

Spitzner, F., 4. 

Spondeus, spondee, 10. 

Spondaics among the Greeks, 

192 ; among the Romans, 192. 
^vdotfjia^ 3J4. 
Statias, Caecilius, 55. 
Statins, P. Papinius, 58; Sapphic 

strophe in, 277. 
Stesichorus, 4.6, 52. 
Stesichorium, metrum, 102. 
Stichic composition, 153. 
2Tlyog,f). 

2xiyoi dovv(t(jTrjTot^ 33. 
^Ti'yog iTTojdog, 34. 
^T.iypg TTQOfjj^Sog^ 34. 
Stop, 25. 
Strophe, 35. 

^T^0(f7J^ 35. 

Strophes divided according to 

rhythm, 271. 
Strophe Sapphica, 274 
Strophic composition, 270. 
Substitution of rhythms, 36. 
^vlXa^ri dStdcpoQog^ 28. 
Syllaba anceps, 28. 
Symmetry, J . 
Syrus, P., 55. 
Systems, 33. 

^voTTjua f| ofiOLOJV^ 34, 240. 
^vGrrJ/iiaTa^ 33. 

^voTTJjuara aTTols^.vjuiPa, 36, 338. 
^voTtj/uaza icard Tis^LOQio^ovg 

dvioovg; aTTSQioQwra} i^ ofj^ol- 

ojv iiard oytOLV^ 240. 
J^voTri^xaxo. ixarqind araaTa, 342. 
Systematic composition, 34, 240. 



INDEX. 



349 



2vLvyia^ 15. 

Telestes, 338. 

Terentius Afer, 55. 

Terentius Maurus, 3, 221. 

TtrqdyqQVOi^ 10. 

Tetralogy, 47. 

Tetrameter, 16. 

Tetrapody, ]6. 

TtTQaixo^ia ^ovy,o?.i}ti]j 52, 186. 

TsTQcior/jLioL, 10. 

Thales, 233. 

Theocritus, 52, 175. 

Theognis, 44. 

Thesis, 8. 

Thespis, 47. 

Three half kind of rhythm, 14. 

TibuUus, Albius, 56. 

Timocreon, 219. 

Tiniotheus, 47, 338. 

TofiTJ, 39. 

Tragedians, 241. 

Tragedy, 47. 

Tragic trimeter, 170. 

Tribrachvs, tribrach, 10. 

Tricha, 3. 

Tqixqovov^ 10. 

Trimeter, 16. 

Tripody, 16. 

TqiGTi^OL^ 10. 

Trochaeus, trochee, 10. 

Trochaic rhythms, 59. 

Trochaic veises, 154. 

Trochaicus claudus, 158. 

Trochaicus, dimeter, 65. 

Trochaica, dipodia, 64. 

Trochaica, hexapodia, 72. 

Trochaicus Hipponacteus, 158. 

Trochaicus, monometer, 64. 

Trochaica, monopodia, 61. 



Trochaicus, pentameter, 69. 
Trochaica, pentapodia, 72. 
Trochaicus quadratus scazon, 158. 
Trochaeus semantus, 12. 
Trochaicus, tetrameter, 68. 
Trochaicus, tetrameter, claudus 

or Hipponacteus, 69. 
Trochaica, tetrapodia, 71. 
Trochaicus, trimeter, 67. 
Trochaica, tripodia, 69. 
Tryphiodorus, 51. 
Tyrtaeus, 44. 

Unity of Choral songs, 290. 
Varro, 220. ^ 

Varro, 'ntql f^ayojyTJg, 257. 
Vareus, L., 57. 
Verse, 29. 
Verus, 29. 

Versus Adonius, 181. 
Versus Anacreonteus, 216. 
Versus Archebuleus, 204. 
Versus Boiscius, 176. 
Versus Cleomacheus, 214. 
Versus epodus, 34. 
Versus heroicus, 183. 
Versus Laconicus, 201. 
Versus Priapeus, 2] 2. 
Versus proodus, 34. 
Versus Septenarius, 177. [192. 
Versus Spondiacus or Spondiazon, 
V^ersus axf'yaAo*, 194. 

SoliyooiQOi^ 194. 

kaya^ol^ 194. 

(XSLOVQOL^ 194. 
TTQOiioOaOl, 194. 

iTQ07il(paloii 193. 
Virgilius Maro, P., 56. 
Voss, J. H., 4. 
Voss, 190. 



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